Journal articles on the topic 'Consumers Consumer goods. Modularity (Engineering)'

Electronic commerce is becoming increasingly important in business, but lack of intention to purchase has become a main barrier in the development of electronic commerce. Thus, effective measures are needed to promote consumers’ intentions to purchase in online consumer to consumer stores. This paper will discuss issues about goods delivery cost and delivery quality in E-commerce. According to the result of research, the paper predicts the future development trend of China E-commerce.

Consumer awareness of the quality of horticultural produce is constantly increasing, together with a suspicion of the chemicals with which crops may have been treated during growth. It is the duty of the horticultural industry to supply consumers with goods that will satisfy their demand for consistent quality at a reasonable price, and to offer fruit and vegetables that have been grown with a minimum of chemical intervention. The most effective means of achieving this goal is through engineering solutions which can also improve working conditions for the growers and enhance production efficiency.

Purpose The purpose of this paper is to identify potential competitive relationships among brands by analyzing the dynamic clicking behavior of consumers. Design/methodology/approach Consumer sequential online click data, collected from JD.com, is used to analyze the dynamic competitive relationship between brands. It is found that the competition intensity across categories of products can differ considerably. Consumers exhibit big differences in purchasing time of durable-like goods, that is, the purchasing probability of such products changes considerably over time. The local polynomial regression model (LPRM) is used to analyze the relationship between brand competition of durable-like goods and the purchasing probability of a particular brand. Findings The statistical results of collective behaviors show that there is a 90/10 rule for the category durable-like goods, implying that ten percent of the brands account for 90 percent market share in terms of both clicking and purchasing behavior. The dynamic brand cognitive process of impulsive consumers displays an inverted V shape, while cautious consumers display a double V shaped cognitive process. The dynamic consumers’ cognition illustrates that when the brands capture a half of the click volume, the brands’ competitiveness reaches to its peak and makes no significant different from brands accounting for 100 percent of the click volume in terms of the purchasing probability. Research limitations/implications There are some limitations to the research, including the limitations imposed by the data set. One of the most serious problems in the data set is that the collected click-stream is desensitized severely, restricting the richness of the conclusions of this study. Second, the data set consists of many other consumer behavioral data, but only the consumer’s clicking behavior is analyzed in this study. Therefore, in future research, the parameters brand browsing by consumers and the time of browsing in each brand should be added as indicators of brand competitive intensity. Practical implications The authors study brand competitiveness by analyzing the relationship between the click rate and the purchase likelihood of individual brands for durable-like products. When the brand competitiveness is less than 50 percent, consumers tend to seek a variety of new brands, and their purchase likelihood is positively correlated with the brand competitiveness. Once consumers learn about a particular brand excessively among all other brands at a period of time, the purchase likelihood of its products decreases due to the thinner consumer’s short-term loyalty the brand. Till the brand competitiveness runs up to 100 percent, consumers are most likely to purchase a brand and its product. That indicates brand competitiveness maintain 50 percent of the whole market is most efficient to be profitable, and the performance of costing more to improve the brand competitiveness might make no difference. Originality/value There are many studies on brand competition, but most of these research works analyze the brand’s marketing strategy from the perspective of the company. The limitation of this research is that the data are historical and failure to reflect time-variant competition. Some researchers have studied brand competition through consumer behavior, but the shortcoming of these studies is that it does not consider sequentiality of consumer behavior as this study does. Therefore, this study contributes to the literature by using consumers’ sequential clicking behavior and expands the perspective of brand competition research from the angle of consumers. Simultaneously, this paper uses the LPRM to analyze the relationship between consumer clicking behavior and brand competition for the first time, and expands the methodology accordingly.

Purpose The purpose of this paper is to analyze how social networking services (SNSs) affect consumers’ behaviors on the omni-channel supply chain by using a reverse research method. Design/methodology/approach Initially, a questionnaire was administered to obtain data on the relationship between the perception factors of channels and consumer behavior. Subsequently, a structural equation model was constructed, and consumer behavior were determined in the omni-channel supply chain. Finally, the importance of various factors that affected consumer behavior in the omni-channel supply chain under SNSs was determined. Findings Conclusions affirm that a positive effect on consumer channel behaviors occurs when buyers obtain information from social network platforms. However, regardless of online, offline, or mobile terminal, shortcomings are indicated in consumers’ lack of feedback on purchased goods and the bias of feedback. Originality/value The study explored ways to efficiently apply SNSs in building the omni-channel supply chain. Meanwhile, corresponding suggestions were provided such that companies will know about consumer needs.

Abstract New telecommunication technologies and services have caused important challenges on travel behaviour and trip characteristics. Existing literature studies show many different outcomes regarding the effects of the new technologies on the participation of people to their personal activities and related travel; specifically, e-shopping may produce the reduction of shopping trips (substitution effect), but also an increase of trips thanks to the reuse of the travel time saved for other activities and trips (complementarity’s effect). The focus of this study is to analyse the aspects mostly affecting consumer choices of purchasing goods by web or in-store, with the aim of understanding how to operate so that e-shopping can positively modify consumers’ travel behaviour. Our research findings show that individual social and economic factors, consumer attitudes, and shopping mode characteristics influence the usage of online shopping. An experimental survey addressed to a sample of Italian consumers is used in the study.

The paper suggests a method for determining the optimal location of service points (warehouses) based on the method for optimal planning of radiation therapy of malignant tumors. This method enabled us to identify the location of the most optimal number of warehouses taking into account their capacity for the required volume of freight transportation and distance from warehouses to consumers. The results of the study coincide with the results obtained by using the method of ant algorithm. The proposed method of finding the optimal location of warehouses enables to significantly minimize the cost of delivering goods from a producer to a consumer.

Feedback analyses from Chernobyl and Fukushima post-accident situations have clearly emphasized the importance of management strategies for contaminated goods during the days, months and years after the accident. For instance, following the accident, the management of contaminated goods generally focuses on the implementation of protective actions, radiological countermeasures and the control of radioactivity in foodstuffs, in order to ensure the quality and sales of the food products. Then, issues concerning the loss of image of local products can appear, and subsequent strategies have to be taken to restore the consumer confidence. Based on a literature review and interviews performed between 2016 and 2018 with Japanese stakeholders involved in the Fukushima accident recovery, this paper analyses the strategies for the management of contaminated goods which have been implemented in Japan. Divided into three main parts, this paper highlights how producers/livestock breeders, agricultural cooperatives, consumers and even distributors gradually committed themselves to (i) ensure the radiological quality of products by implementing countermeasures and monitoring systems, (ii) maintain sustainable economic activity by encouraging the resumption of agricultural activities and by deploying various sales strategies and try to (iii) restore consumer confidence by initiating producer/consumer dialogues and promotional actions for local products.

The main objective of this study was to determine the behavior of the Polish consumer of organic products during the COVID-19 pandemic and to identify preferred channels of distribution of organic products in the situation of restricted freedom of movement as well as to assess what information displayed on the labels of organic food was most important to the customer. The research was conducted on a sample of 1108 respondents with the use of CAWI technique collected in an online survey carried out in February–August 2020. To analyze the obtained results, cluster analysis, linear regression model and duplication method were used to verify the substitute channels for purchasing organic goods. The pandemic has intensified the health value of consumers when making decisions about choosing food products. Consumers are sensitive shoppers who read the content of the labels and pay attention to the ingredients of the products they buy. The price is also of significant importance for consumers; however, it is less important than, for example, the expiration date of the purchased product. With the use of PCA analysis, it was possible to identify 18 factors that could be divided into three segments: marketing, practical and sensory. The proposed factors, according to the respondents, had an effect on the purchase of organic products by Polish consumers. Regarding the preferred purchasing channels, the Internet is becoming more and more important. Almost one-quarter of the respondents confirmed that they bought organic products via the above-mentioned distribution channel. Nearly 17% of the surveyed consumers considered the Internet to be an alternative way of doing their shopping. The results obtained in the research can be used in the sector of organic food producers to design marketing strategies and to adapt their offer to the proposed four groups of purchasers of organic products: eco-activists, eco-dietitians, eco-traditionalists, eco-innovators.

The background that underlies this work is the envisioned real-time tele-immersive collaboration system for the future that supports delay-sensitive applications involving participants from remote places via their collaboration spaces (CSs). The end-to-end delay as high as 20 ms is required for good synchronization of such applications, for example collaborative dancing and remote conducting of choir. It is much lower than that facilitated by existing teleconference systems. A novel network architecture with delay guarantee, namely Distributed Multimedia Plays (DMP), has been proposed and designed to realize the vision. The maximum low latency is guaranteed because DMP network nodes can drop DMP packets of multimedia data from the CSs due to instantaneous traffic condition. Besides ultrafast processing time, modularity, and scalability must be taken into account in hardware design and implementation of the nodes for seamless incorporation of the modules. These lead us to employing field-programmable gate array (FPGA) due to its substantial computational power and flexibility. This paper presents an FPGA-based platform for the design and implementation of DMP network nodes. It provides a detailed introduction to the platform architecture and the simulation-implementation environment for the design. The modularity of the implemented node is shown by addressing three important modules for packet dropping, 3D warping, and image transform. Our compact implementation of the network node on Xilinx Virtex-6 ML605 mostly consumes very small amount of available resources. Moreover the elementary operations on our implementation takes (much) less than 5 μs as desired to meet the low-latency requirement.

The complexity of consumer behavior requires new research methods to overcome the limitations of conventional evident-based research. The aim of this paper is the comparison between two types of factor analyses, Q and R (PCA and cluster analysis) for subjectiveness measurement in the case of durable goods buying behavior in Romanian households with different levels of education and occupancy. Our study explores different subjective patterns of stimulus of 30 statements (Q-sample) by 30 Romanian households (P-sample) using the Q-sort method for collecting data. For the Q-sample inputs, results from the literature were used. Based on the 30 Q-sorts, we discovered four factors for both Q and R factor analysis, mostly different according to specific results from different methods. For the Q method, we used the labels “pragmatic”, “modern”, “traditionalist”, and “innovator. For R factor analysis and cluster, we used “traditional Romanian brands”, “real needs and power purchasing”, “sceptic versus optimistic subjectiveness”, and “negative subjectiveness”. This paper suggests the Q methodology as a structured and transparent approach to consumer behavior research by combining the in-depth subjectivity of qualitative methods and statistical rigor of factor analysis to identify groups in consumers. The research provides useful suggestions for selecting and approaching target consumer segments in the Romanian durable goods industry.

The current technology, whose acceleration rate is high-speed, cannot be denied. You can see that all the tools are getting more advanced, and anything is quicker and easier. Especially now, everyone can do anything via smartphones, from reading newspapers to paying bills to shop online. Consumers need to open a smartphone, select the desired item, make payments and wait for the goods to arrive in front of their house (Sazali & Rozi, 2020). The presence of smartphones and online shopping makes communication between consumers and a particular company or brand easier (Parvin et al., 2020). Another more straightforward thing is that some sellers allow cash on a delivery payment system or goods pay when they arrive home. The following reason why online shopping is more popular now is that the price is lower, there is no need to come directly to the store, the area is not a barrier for consumers, it can access 24 hours, and there is even a free shipping fee (Muljono et al., 2018). The many conveniences that can obtain in shopping online make Indonesians more consumptive. But here's a positive that marketers should quickly grasp. Given the substantial population of Indonesia, and also have the characteristics of each individual. The diverse characteristics of the Indonesian population and the needs and desires of consumers for the products that consumers will buy are different. For example, in terms of sports goods (Nike, Adidas, and Reebok), fast fashion (Zara, H&M, Uniqlo), and also smartphones (Apple, Samsung, and Huawei). The shift in online behavior currently happening in Indonesia is a new opportunity (Nurjanah et al., 2019). The number of these factors is a challenge for marketers to increase sales and reach the target market. In the past, social media was created only as a means of entertainment for its users. Still, now social media is a source of consumer information, and the evolution of social media use is pervasive in the business world (Yuan et al., 2021). Keywords: Brand trust, online brand community trust, brand attachment, repurchase intention, positive eWOM intention

Now-a-days the more accurate prediction of the demand for fast-moving consumer goods (FMCG) is a competitive factor for both the manufacturers and retailers, especially in the super markets, wholesale manufacturers and fresh food sectors and other consumable industries. This proposed system presents the benefits of Machine Learning in sales forecasting for short shelf-life and highly-perishable products, as it predict the statistical information as a result, improves inventory balancing throughout the chain, improving availability to consumers and increasing profitability. This performance is done with various classification algorithms and comparative study is done with some metrics like accuracy, precision, recall and f-score. So that it helps in finding customer need and to increase the profit of the manufacturers.

Many explanations for the sigmoid or S-shaped curves that characterize the diffusion of innovations through time have been proposed. Recent studies demonstrate that social learning mechanisms, including conformist strategies, and heterogeneous adoption thresholds related to economic inequality and the decreasing cost of goods can generate these S-shaped cumulative frequency curves. The present study of a regional material culture sequence expands our inquiry concerning the underlying social forces that structure diffusion through both space and time. Using historic New England gravestones and their associated documents, this study considers both cultural transmission between stone carvers and consumer choices. Social learning among consumers can generate both wave-like diffusion patterns through space and lead to the persistence of cultural variants in certain locales.

As the Internet retail industry continues to rise, more and more consumers choose to shop online, especially Chinese consumers. Using consumer behavior data left on the Internet to predict repurchase behavior is of great significance for companies to achieve precision marketing. This paper proposes an improved deep forest model, and the interactive behavior characteristics of users and goods are added into the original feature model to predict the repurchase behavior of e-commerce consumers. Based on the Alibaba mobile e-commerce platform data set, first construct a feature engineering that includes user characteristics, product characteristics, and interactive behavior characteristics. And then use our proposed model to make predictions. Experiments show that the model’s overall performance with increased interactive behavior features is better and has higher accuracy. Compared with the existing prediction models, the improved deep forest model has certain advantages, which not only improves the prediction accuracy but also reduces the cost of training time.

Knowledge about the total waste generated by the production of consumer goods can help raise awareness among policy-makers, producers and consumers of the benefits of closing loops in a future circular economy, avoiding unnecessary production and production steps and associated generation of large amounts of waste. In strict life cycle assessment practice, information on waste outputs from intermediate industrial processes of material and energy transformation is translated into and declared as potential environmental impacts, which are often not reported in the final results. In this study, a procedure to extract available intermediate data and perform a systematic pre-consumer waste footprint analysis was developed. The pre-consumer waste footprint concept was tested to analyse 10 generic products, which provided some novel and interesting results for the different product categories and identified a number of challenges that need to be resolved in development of the waste footprint concept. These challenges include standardised data declaration on waste in life cycle assessment, with a separation into waste categories illustrating the implicit environmental and scale of significance of waste types and quantities (e.g. hazardous waste, inert waste, waste for recycling/incineration) and establishment of a common definition of waste throughout sectors and nations.

The purpose of the present paper is to contribute to better knowledge of consumer logistics and consumer preferences. This aspect of logistics is to our mind rather unexplored, but seems to be very important for the development of logistics companies. The paper is confined to the logistics executed by the younger population. The main goal of the research was to identify the factors influencing students’ readiness for outsourcing their logistics. Further, the survey aims at developing an instrument for measuring the scope and structure of the students’ logistics and the share of their mobility which they would be ready to have executed by the suppliers of logistic services. Two segments were statistically analysed: social-demographic data and the diary of travel behaviour. Among twenty-two independent variables, the results highlighted ‘length of journey’, ‘time necessary for the execution of logistics’ for the purpose of: ‘giving a ride to neighbours’, ‘shopping for consumer goods’, ‘change of residence’ and ‘entertainment’. Interestingly, it was ascertained that the more time the students travel by car, the more logistics they were prepared to outsource. Finally, the survey methodology applied might serve as the basis for further research into the market of logistic services as well as other aspects of consumers’ preferences referring to their logistics. Based on this, new means of public transportation might be designed and offered by various localities.

This research paper recognizes the association between corporate social responsibility (CSR) practices and firm reputation. The researcher collected the data from 239 fast moving consumer goods enterprises located in the industrial area of Kuala Lumpur, Malaysia. The CSR practices are measured by recycling of products, green purchasing, environmental awareness/protection programs, and direct support to the community. This research adopts a simultaneous regression technique to test hypotheses. The results show that CSR practices have a strong positive relationship with enterprise reputation. Meanwhile, direct support to community and environmental protection programs have a greater positive effect on firms’ reputation as compared to green purchasing and recycling of products. In addition, CSR practices arouse sympathy in consumers’ minds, which translates into repeat buying of products.

The article considers the process of branding as a means of self-promotion and personal expression. When conducting the study, the authors used the theory of consumer behavior of A. Maslow as a methodological basis, as well as the visual structures of the personality of Z. Freud, K. Jung. The aim of the study is to analyze the process of branding as a psycho-logical means of self-promotion and personality expression. During the study, general scientific methods of cognition were used within the framework of dialectical and systemic approaches, methods of logical and situational analysis. The main tasks of personal expression, solved with the help of brand products, have been identified. At the same time, the authors argue that the choice of brand products for self-promotion in all three cases is based on one psychological motive - self-realization and self-expression. It is shown that the brand brings additional income, since many consumers are ready to overpay, giving an additional amount of money for the opportunity to have a prestigious product even for a premium price. Brands have an emotional connection with consumers. Leading companies with famous brands have long noted for themselves that the connection of their goods with consumers lies through emotions. Brands help people fulfill their dreams, desires, open up more opportunities in life. The stronger and more significant the unique, rational and emotional characteristics of the brand for the consumer, the higher the price he is willing to pay for the product, the greater the opportunity for the company to profit. The increase in profits in turn leads to an increase in the value of shares and to an increase in the value of the company itself, since the brand is a kind of intangible asset. Brand ownership is a winning result of the history of the company, the fate of its founders and executives, skillful talented brand makers. Not every name of the company can be called a brand, not everyone is destined to become one, not everyone is given to maintain the level of the brand. Having a brand means that even with approximately equal consumer and other properties, the product will buy more, the idea will have more adherents.

Abstract Nanotechnology is a rapidly evolving field, as evidenced by the large number of publications on the synthesis, characterization, and biological/environmental effects of new nano-sized materials. The unique, size-dependent properties of nanomaterials have been exploited in a diverse range of applications and in many examples of nano-enabled consumer products. In this account we focus on Engineered Nanomaterials (ENM), a class of deliberately designed and constructed nano-sized materials. Due to the large volume of publications, we separated the preparation and characterisation of ENM from applications and toxicity into two interconnected documents. Part 1 summarizes nanomaterial terminology and provides an overview of the best practices for their preparation, surface functionalization, and analytical characterization. Part 2 (this issue, Pure Appl. Chem. 2018; 90(8): 1325–1356) focuses on ENM that are used in products that are expected to come in close contact with consumers. It reviews nanomaterials used in therapeutics, diagnostics, and consumer goods and summarizes current nanotoxicology challenges and the current state of nanomaterial regulation, providing insight on the growing public debate on whether the environmental and social costs of nanotechnology outweigh its potential benefits.

As a packaged consumer goods company serving mass markets around the world for household and personal hygiene products, laundry detergents and foods, Unilever's business is inextricably linked with consumers’ interest in meeting their everyday water needs. Once the basic need for drinking water is met, almost all other “everyday” water needs derive from consumption associated with the type of products Unilever sells. Use of some of these products, such as basic toilet soap, involve “actual” water consumption; others, such as margarine, concern “virtual” water consumption through agricultural production. Global scenarios for water and sanitation present a major challenge to long-term business strategies that assume sustained economic growth particularly in emerging and developing markets. Responsibility for finding and delivering solutions lies with all major actors in society. For companies such as Unilever, a priority is to help break the link between economic development on the one hand, and increased water use and water degradation on the other. Water catchment level perspectives are central to realising this vision. Unilever uses such a framework, building an experience-based model that demonstrates how a “consumer” company can engage in meeting everyday water needs with a sustained positive impact.

Decision makers in freight transportation need to assess new distribution systems and the impacts of changes in the freight distribution environment on infrastructure needs and usage, logistical performance, emissions, and energy use. There is a need, therefore, for behavioral models that can predict goods flows and vehicle flows in both current and future situations. This research outlines a conceptual framework consisting of the markets, actors, and supply chain elements of freight movement. Supply chains are constructed by linking distribution channels (of different logistics characteristics) between different activity types, such as consumers, supermarkets, stores, offices, distribution centers, and factories. The framework outlined in this research was used to develop the GoodTrip model—a demand-driven, commodity-based freight movement model that incorporates supply chains. Starting with consumer demand, the model estimates goods flows and simulates vehicle tours. The open architecture of the model allows mixed use of empirical data, behavioral models, and scenario-type assumptions. The behavioral models will be developed in future research. In its first application, the GoodTrip model was used to compare the logistical performance and external impacts of three types of urban distribution systems: the traditional system and two concepts using urban distribution centers (one using vans, the other using automated underground vehicles). The results show considerable differences in the performance and effects of the alternatives, especially when they are applied to different types of distribution channels, such as food retail stores or bookstores.

Purpose. To develop models describing forms of organization of production activity in terms of probabilistic nature of demand and determine their being effected by strategies of marketing interaction with the product consumers. Methodology. The theoretical models were based on classic models of mass service, methods of sales planning, and studies on rational strategies of marketing interaction of a consumer of limited-demand products, the need in which is of probabilistic nature. Such parameters as maximum (peak) involved production capacity and maximum warehouse capacity required in terms of predicted production volumes are taken as the criterion of effect of a strategy of the manufacturer-consumer marketing interaction. Findings. Certain dependences have been obtained making it possible to calculate the maximum (peak) involved production capacity depending on the predicted production volume, warehouse capacity, and organization of production activity of an enterprise. It has been shown that the organization of marketing interaction between a manufacturer and a consumer of limited-demand products, the need in which is of probabilistic nature, on the basis of marketing partnership strategy helps reduce considerably the peak loads of production facilities and warehouse capacity, which is necessary to maintain production activity of an enterprise. Originality. On the basis of a mass service theory, a form of organization of production activity of an enterprise is substantiated that manufactures goods of differentiated need and limited demand of probabilistic nature. It has been proved that a current marketing strategy of interaction between a manufacturer and consumer of such a product influences considerably the organization of production activity of an enterprise-manufacturer. A form of organization of production activity of an enterprise has been substantiated; in terms of organization of interaction with a consumer on the basis of marketing partnership relations, it helps reduce significantly the peak loads of production facilities and the involved warehouse capacity to store ready-made products. Practical value. The obtained results can be applied to plan the forms of organization of production activity of an enterprise that manufactures limited-demand products, the need in which is of differentiated nature, and to substantiate rational marketing interaction with a consumer of such kind of product.

Indonesia has been experiencing rising animal source food prices during the last five years (decade). In this paper we explore how changes of animal source food prices impact on their demand Indonesia 2016 as expressed in income and price elasticities. Take into account for changes in consumption patterns, as expressed in substitution and complement effects among food items, by including own and cross price elasticities obtained through the parameter estimation of a demand system using QUAIDS. With respect to the total animal food expenditure, chicken meat, beef, fish and milk are luxury goods, while (only) egg is normal goods. The luxuriousness of chicken meat, beef, fish and milk powder decrease with increasing household income level as expressed in quintile level. The results also show that consumers substitute high value commodities such as chicken meat, beef, fishes and powdered milk in case of rising prices with the cheaper and lower preferences. Consequently, households consume a less diversified diet in times of high animal source food prices, focusing their diet on cheaper animal source food commodities. High value animal source foods play an important role in a diversified and nutritionally balanced diet, since they are rich in proteins and essential amino acid. Animal source food “inflation”, which has been led by high value animal agricultural commodities, therefore threatens to worsen the nutritional status of the Indonesian consumer, especially the lower income level.

Рассматриваются результаты исследования высших социальных эмоций, то есть эмоций, обращенных к другому человеку (чувств стыда и гордости), в системе маркетинговых коммуникаций. Выдвигалась гипотеза о том, эти эмоции не только влияют на поведение потребителей, но и выступают ее самостоятельными мотивационными факторами. В исследовании приняли участие 224 человека. Среди них 47% мужчины, 53% - женщины в возрасте от 18 до 65 лет (студенты, преподаватели вузов, экономисты, юристы, психологи и специалисты инженерных профессий). Применялось: анкетирование, лабораторный эксперимент с визуальной демонстрацией рекламных материалов (видеопроектор), психодиагностические тесты (16-ФЛО Кеттелла), методика Дж. Тангней TOSCA (Test of Self-Conscious Affect), методика семантического дифференциала Ч. Осгуда. Подтверждено, что мышление и поведение потребителей в условиях воздействия на потребителей различных видов рекламы, являются социально ориентированным. Обнаружены статистически значимые связи между личностными характеристиками потребителей, особенностями их потребительского поведения и их оценками коммерческой, политической и социальной рекламы. В частности, потребители, которым «не стыдно покупать дешевые вещи», отличаются тем, что всегда ориентируются на свое собственное мнение, а не на мнение окружающих. По результатам психодиагностического тестирования (16-ФЛО) эти люди «самостоятельны, независимы, имеют свою точку зрения, стремятся к лидерству <…> предусмотрительны, не любят проявлять эмоции, зато вдумчивы, рассудительны и обязательны». Был сделан вывод о том, что потребители не всегда осознают и признают, что чувства стыда и гордости играют существенную роль в принятии решений в процессе приобретения товаров и услуг, что ограничивает возможности применения опросных методов и делает необходимым методы проективные и экспериментальные. The article discusses the results of studying the highest social emotions (feelings of shame and pride) in the system of marketing communications. We consider the hypothesis that higher social emotions not only influence consumer behavior, but also act as independent motivational factors of consumer behavior on their own. As a result of the study, it was confirmed that the thinking and behavior of consumers under the influence of various types of advertising on consumers is socially oriented. Statistically significant relationships were found between certain personal characteristics of consumers, their consumer behavior, and their assessments of commercial, political, and social advertising. It was concluded that consumers are not always aware and do not always admit that feelings of shame and pride play a significant role in decision-making in the process of purchasing goods and services, which limits the use of survey methods and makes it necessary to use projective and experimental methods. The study involved 224 people. Among them, 47% are men and 53% are women between the ages of 18 and 65 (students, University teachers, economists, lawyers, psychologists, and engineering professionals). At different stages of the study, the following methods were used: questionnaire survey, laboratory experiment with visual demonstration of advertising materials (video projector), psychodiagnostic tests (16pf Cattell), the method of J. Tangney TOSCA (Test of Self-Conscious Affect), the method of semantic differential Ch. Osgood. Statistically significant relationships were found between certain personal characteristics of consumers, their consumer behavior, and their evaluations of commercial, political, and social advertising. In particular, consumers who are "not ashamed to buy cheap things" are distinguished by the fact that they always focus on their own opinion, and not on the opinion of others. According to the results of the psychodiagnostic testing (16 PF), these people are "independent, have their own point of view, strive for leadership. They are prudent; do not like to show emotions, but thoughtful, reasonable and mandatory."

The high competition situation forces the company to further increase its competitiveness until it reaches a level of superior competitive advantage. Companies are required to increase capacity in an effort to satisfy consumer needs. Apart from that, simultaneously, the company is also responsible for profitability in order to satisfy shareholders. In this situation, the company is always aware of and trying to understand the changes that occur in the market structure and the competition that is being faced (fundamental, incremental, or radical), so that efforts to satisfy consumers and shareholders continue to be carried out simultaneously. Many companies experience panic when facing a situation of very high competition because the business challenges faced today are far greater than they have been faced in the past. Economic globalization, where products in the form of goods and services flow freely between countries, has put higher pressure on companies to be competitive. Therefore, a strategic management approach is needed, a managerial approach that is comprehensive and long-term oriented in managing company growth in a competitive situation that contains risks in an atmosphere of uncertainty so that the company is able to survive and develop in a sustainable manner. Keywords: Coaching, Empowering, Mentoring, Talent Management, Talent Mapping

Conceptually and empirically, inflation volatility in Indonesia is a monetary and fiscal phenomenon. This study focuses on the macroeconomic policy and public policy especially causality between two variables namely inflation and money supply in Indonesia. This study uses Indonesian macroeconomic data of inflation and money supply from the Bank of Indonesia publication during 2007.1–2017.7. Inflation is measured by the consumer price index, reflects the annual percentage change in costs of acquiring a basket of goods and services to the average consumers that may change at specified intervals. Meanwhile, money supply is measured by the currency, demand deposits, time deposits, and saving deposits. Methodically, this study uses the Granger Causality model to determine the causality between inflation and money supply. The results show that there is a one-way causality between inflation and money supply in Indonesia. These findings imply that money supply causes inflation, but not vice versa. This condition implies that the role of Indonesian Government and Bank of Indonesia were very crucial in managing and controlling macroeconomic policy and public policy. Then, analysis of money supply and inflation also related to impacting factors such as money laundering, role of banks, taxation, tax evasion, and corruption.

Contemporary engagement with fashion is with slick simulacra, daydreams and digital fantasies – an impossible promise of a beautiful, de-corporealized perfection. The virtualizing of fashion consumption has in turn dematerialized garments completely. Although late to the party, the consumer engagement with online luxury fashion has grown exponentially. Extremely expensive items are now purchased before they are engaged with physically. Therefore, within the new realities of device-based fashion design and consumption, the ‘wow’ factor and virtual considerations are paramount. There should be no surprise though that these garments align so closely with our taste, our consumption habits and our life patterns; they have been designed to do just that. In this research, through observation of a garment that was virtual before it became physical, the ascendant contemporary structure of modern fashion retail is analysed. This research explores how physical aspects of clothing have been devalued by the technology of modern capitalism, even as the importance of the ‘look’ has ascended. Another important aspect of the research is the seductive aspects of the marketing of fashion goods. The methods of procurement, in addition to the physical characteristics of the object itself, undergo a close analysis – how we as consumers are shaped by our methods of consumption as much as by our goods now. This research uses an object-based method, a process wherein both intrinsic and extrinsic information can be gleaned from a close examination of a garment, as well as an interview with a fashion journalist who witnessed the reorganization of a leading fashion website into a retail portal. This data is then combined with relevant theoretical frameworks to form ‘grounded theory’. The dematerialization of the modern ‘boutique’ that has now migrated online, the incipient forms of marketing to engage consumers and, ultimately, the recontextualization of the body and understanding of the self, all catalysed by online consumption are considered. As garments are now as ephemeral and placeless as the mechanism for the acquisition, an examination of the manufacture and dissemination of fashion product is warranted, and this in turn provides a more nuanced understanding of the ontology of luxury garments as well as their consumption in the modern fashion retail agora.

The world has found itself spinning ever faster and economies producing ever more. But this process cannot go on forever. The Earth we live on is one and only and it has limited resources in comparison with what the people are ready to use. Sustainability of the environment is bitten by recklessness of many but critical voices are being raised in recent decades. As Stahel (2016) noted, contrary to nature and its processes, people are still primarily functioning in linear way – "make, use, dispose". This is fundamentally supported by consumerism approach and the view that the economy prospers only by permanent growth driven by infinite desires of consumers (Rojek 2004). But critical voices emphasize the social role of entrepreneurship (Zahra and Wright 2016) with the conclusion that the entrepreneurship can benefit from lowering their environmental impact (wasteful resource usage) thus also resulting in personal and societal benefits, beside the economic value creation (see about the triple bottom line also in Klarin 2018). This also spurs emerging of new business opportunities (Korhonen, Honkasalo, and Seppälä 2018). As Zahra and Wright (2016) develop it further, the businesses have to "move from 'do no harm' to 'do good'". Sustainability can be promoted by the circular economy (CE). CE is a concept in which instead of linear flow, outputs from one part of the economic process are kept in this part longer (reused, repaired, refurbished) and eventually recycled as the input for the next part of the process. This reduces the waste for the landfill disposal and the needs for resources. (Geisendorf and Pietrulla 2018; Korhonen et al. 2018) Although the definitions clearly rely on the actions of the producers (e.g. companies), we cannot forget the market pull factor and the role of consumers. Raising awareness of the consumers about the consequences of their actions can be an important factor for hurrying up introduction of the CE principles, and especially increased recycling in their everyday operating practices (Abe et al. 2014). Since CE and its principles represent a complex phenomenon, in this paper the focus of research is on the "Reuse" principle and the awareness and willingness of the adult population in northern Croatia region to engage in the reusing the consumer goods. This region is economically strong with higher contribution of the manufacturing industry to the GDP compared to the rest of the country which makes it a good candidate for this preliminary study. Keywords: Sustainability, Circular Economy, Reuse, Reduce, Recycle

The article seeks to explore the main provisions of international marketing and its tools along with revealing the specific features of high-tech products and the key elements of their promotion. The modern realia of economy globalization processes pose a range of challenges to sustainable entrepreneurship development, especially to innovatively active enterprises engaged in foreign economic activity. The intensive growth of market economy is always accompanied by the boost of entrepreneurship. Entrepreneurial activity is engineering, design and combination of factors of production to create new goods and services that, in turn, will contribute to maximizing profits and meeting the societal needs. One of the latest trends in entrepreneurship within recent couple of years has been entrepreneurship in the field of high technology. Such trends have been underpinned by the current changes in the global economic environment and the transformation of consumer behavior globally. Thus, product consumption is accelerating against the reduction of product life cycles, first of all, due to a drop in the market saturation stage, i.e. market maturity. Consumers tend to have an appetite for innovations in different areas and in their heads are ready to pay considerable sums of money for innovative products. With this in mind, the major instruments for promoting high-tech products are marketing communication tools (Internet marketing and its types) and personalized specific advertising.

Every part of man’s life today involves in the consumption of goods and services. Housing as a product is part of goods that is consumed by man. Studies on housing demand as related to all categories of housing consumer, how and why consumers make specific decisions on housing demand, are not common. This study aimed at examining the Consumer Decision Making Process Model (CDMPM), and applying it in the field of housing through which sustainable housing delivery can be expected to be achieved in Nigerian urban centres. This paper essentially employed fifty literature reviews after winnowing through relevant published articles, books, conference proceedings, unpublished thesis, government reports and monographs, in order to identify all issues that relate to the application of the Model in Housing demand. The understanding of this model is expected to help to look at the process of the decision making of different consumers with different status or background by examining the factors being considered in housing demand among various alternatives, the evaluation of the chosen alternative and its effects on their social, and psychological wellbeing for the purpose of achieving the safety, comfort and conveniences of housing consumers. This could serve as a road guide for private and public housing sectors as well as housing policy makers towards sustainable housing delivery.

Purpose The purpose of this paper is to research the price strategies of online knowledge payment product by considering network externality in the C2C sharing economy. Design/methodology/approach Considering the characteristics of online knowledge goods and the social network externality of consumers, this study establishes a consumer utility function. On this basis, a multistage game pricing model of online knowledge products is established based on three kinds of network price strategies under a completely competitive market structure. It also analyzes the influence of consumer social network structure and consumer utility on online knowledge product pricing and producer profit, as well as the influence of consumer quantity and discount rate on pricing strategy. Findings The consumer social network and consumer utility affect the pricing of online knowledge product under different price strategies. In the growth period of the platform, adopting the price discrimination strategy, the profit of producers is significantly higher than that of other price strategies, and producers should choose effective price strategies for reasonable pricing in combination with their own sales objectives. Originality/value This study enriches the literature on the pricing model of online knowledge payment product and owns a practical significance to guide the knowledge producers’ marketing strategies to increase profit.

This paper focuses on logical aspects of choices being made by the consumer under conditions of uncertainty or certainty. Such logical aspects are found out to be the same. Choices being made by the consumer that should maximize her subjective utility are decisions studied by revealed preference theory. A finite number of possible alternatives is considered. They are mutually exclusive propositions identifying all quantitative states of nature of a consumption plan. Each proposition of it is expressed by a real number. This research work distinguishes it from its temporary truth value depending on the state of information and knowledge of the consumer. Since each point of the consumption space of the consumer belongs to a two-dimensional convex set, this article focuses on conjoint distributions of mass. Indeed, the consumption space of the consumer is generated by all coherent summaries of a conjoint distribution of mass. Each point of her consumption space is connected with a weighted average of states of nature of two consumption plans jointly studied. They give rise to a conjoint distribution of mass. The consumer chooses a point of a two-dimensional convex set representing that bundle of goods actually demanded by her inside of her consumption space. This paper innovatively shows that it is nothing but a bilinear and disaggregate measure. It is decomposed into two real numbers, where each real number is a linear measure. In this paper, different measures are obtained. They can be disaggregate or aggregate measures, where the latter are independent of the notion of ordered pair of consumption plans.

Organisational capability is considered as organisations developing its strength ofcompetencies in the midst of economic hardship, and when faced with stiff competition so as to secure aplace especially with its workforce in this present dynamic business environment. This study aims toexamine if organisational capability can enhance employee satisfaction. Survey research designwas adopted to assess the subject matter. Four hundred and eighty (480) respondents weresurveyed among the selected Fast-Moving-Consumers- Goods (FMCGs) in Nigeria usingpurposive and stratified sampling technique. Moreover, three hundred and fifty-eight (358)which accounted for 74.6% response rate were duly filled and returned for the analysis of thisstudy by using the Structural Equation Model (AMOS 23). The results from the test ofhypotheses showed that organisational capabilities have significance influence on employeesatisfaction @ (R2= 0.531 p-value =0.000). The study recommends in identifying thedevelopment of human expertise and skills which generates a distinctive competency for theorganisation in knowledge generation, and learning, it serves as a potential for growth andsustained proficiency for the employees. The insights from this study would be of great value tothe management of Fast-Moving-Consumers-Goods (FMCGs) industry, as well as otherstakeholders towards the development and investment in building their capabilities that willenhance the proficiency and satisfaction of the employees.

E-commerce is a system whereby consumers can buy goods and services from merchants who sell on the internet. E-commerce is more impersonal, anonymous and automated than traditional person-to-person commerce, and as such, typically lacks human warmth and sociability. This paper explores how human warmth and sociability can be integrated through the website interface to positively impact consumer attitude towards online shopping. In first section, website content analysis was used to investigate elements that offer many unique features to support the implementation of social presence through the e-commerce website interface. The second section seeks to determine relationships between elements of social presence, intention to use e-commerce and consumer attitude. A 5-level Likert scale questionnaire was used to determine consumer attitude towards online shopping and 50 respondents were selected. Pearson’s correlation was used to assess the relationship between social presence elements, intention to use e-commerce and consumer attitude. The result shows all positive relationships. The findings showed moderate relationship between social presence and intention to use e-commerce, a moderate relationship between intention to use e-commerce and consumer attitudes, and a weak relationship between social presence and consumer attitude.

This paper studies the transformation and upgrading of sporting goods manufacturing industry in China, and discusses why the sporting goods manufacturing industry needs digital transformation from the perspective of "C2M" mode, and puts forward some suggestions on how to carry out the digital transformation of sporting goods manufacturing industry in China based on the "C2M" mode. Based on the "C2M" mode, four suggestions are put forward: first is to establish a platform to attract consumers and meet the personalized customization needs to face the gradual diversification of consumer needs; second is to build a flexible production chain and change the business management concept to face the gradual increase in the cost of production factors; third is to accelerate the digital transformation of management and improve the level of management modernization to face the drawbacks brought by the industry from design to sales and circulation; fourth is to strengthen brand building and pursue market segmentation in order to face the situation that China's large-scale sporting goods manufacturing industry is facing high marketing expenses and the small and medium-sized sporting goods manufacturing industry does not pay attention to innovation.

With the rapid development of industry, the e-commerce livestreaming, which is becoming popular in recent years, poses many interesting challenges and opportunities for manufacturers. To explore the influence mechanism of e-commerce livestreaming on sales performance, this paper studied the impact of e-commerce livestreaming from both sales volume and consumer satisfaction, and studied the combined effect of e-commerce livestreaming and third-party recommendation on sales performance. The results show that e-commerce livestreaming has significantly boosted the sales of goods. Consumers with low purchasing power are more susceptible to e-commerce livestreaming than those with high purchasing power. Further tests show that third-party recommendations had the positive action on the influence relationship between e-commerce livestreaming and the purchases of consumers with low purchasing power, as well as on e-commerce livestreaming and the satisfaction of consumers with high purchasing power.The conclusion provides theoretical basis for enterprises to use big data of transaction information system to improve marketing efficiency.

Obligation to write a description of genetically engineered food manunjukkan does not mean that the product of genetic engineering that use materials are not safe, but the subscription is more information, because basically the food products that have been circulating in the market is a product that is safe for consumption means that products are free from material substances that are harmful to humans and how the processing should ensure the safety of the product, therefore the information in the form of inclusion of the words "Food Genetic Engineering" is intended to meet the consumers' right to choose the right form of goods or services to be consumed, which in this case is part of legal protection for consumers.Keywords: Protection Law, Consumer Protection Act, Genetic Engineering of Food, Consumer, Entrepreneur

In the bid to stay competitive, online shopping platforms often offer a variety of shipping options to meet the preferences of consumers. While faster delivery might be desirable for consumers, this may be detrimental to the environment. Limited studies have evaluated the comparative environmental impact of different shipping options offered by e-commerce platforms. To fill this gap, this study aims to conduct a comparative carbon footprint assessment of the shipping options available in Taobao, a highly popular Chinese online shopping website. The case of cross-border e-commerce is evaluated, where goods are ordered from China to Singapore as the shipment destination. Thereafter, a shipping choice preference survey is conducted to evaluate the impact of carbon labelling on consumers’ shipping preferences. From the perspective of the consumer, when offered a variety of shipping options to choose from, there is always a trade-off between the cost and the speed of delivery. Additional information on the carbon impact of different options could influence consumers’ decision-making. The shipping options from Taobao are referenced to determine the cost, speed, and carbon emission values for the scenarios presented in the survey. Out of 188 survey respondents, slightly more than half (55%) were found to be willing to compromise the speed of delivery for a less carbon-intensive alternative. Given this finding, the study advocates for carbon labelling to be introduced for e-commerce shipping options.

Fuzzy sets methodology to automatically generate knowledge base for informed decision making is proposed. As a proof of concept it has initially been applied to generate regulatory/health/environmental guidance rules for textile and apparel companies. Subsequently, the system will be augmented to incorporate additional consumer goods, and down the road, after some modifications, could be utilized as a much needed health care disruptor tool in personalized medicine for both patients and clinicians. The apparel category provides for a diverse set of mandatory regulations and some voluntary standards. Mandatory requirements such as CPSIA, FTC for Care and Textile labelling, in addition to AATCC requirements for colourfastness and formaldehyde were taken into consideration. Initial focus was on carcinogenic dyes and pigments. Databases from the International Agency for Research on Cancer (IARC), the US National Toxicology Program (NTP) are to be incorporated, in conjunction with computational intelligence, to identify potential toxins or carcinogens present in the industrial process or the final product, thus alerting manufactures and consumers through a user-friendly interface. This capability can be quickly developed and validated using modern software product development approaches incorporating Design Thinking, Agile Development with Scrum, and Business Model Generation to get this to market where key benefits can be derived

Introduction Japan has long been cited as a major source of cute (kawaii) culture as it has spread around the world, as encapsulated in Christine R. Yano’s phrase ‘Pink Globalization’. This essay charts recent developments in Japanese society through the cute character Rilakkuma, a character produced by San-X (a competitor to Sanrio, which produces the famed Hello Kitty). His name means ‘relaxed bear’, and Rilakkuma and friends are featured in comics, games and other products, called kyarakutā shōhin (also kyarakutā guzzu, which both mean ‘character goods’). Rilakkuma is pictured relaxing, sleeping, eating sweets, and listening to music; he is not only lazy, but he is also unproductive in socio-economic terms. Yet, he is never censured for this lifestyle. He provides visual pleasure to those who buy these goods, but more importantly, Rilakkuma’s story charitably portrays a lifestyle that is fully consumptive with very little, if any, productivity. Rilakkuma’s reified consumption is certainly in line with many earlier analyses of shōjo (young girl) culture in Japan, where consumerism is considered ‘detached from the productive economy of heterosexual reproduction’ (Treat, 281) and valued as an end in itself. Young girl culture in Japan has been both critiqued and celebrated in in opposition to the economic productivity as well as the emotional emptiness and weakening social prestige of the salaried man (Roberson and Suzuki, 9-10). In recent years, ideal masculinity has been further critiqued with the rise of the sōshokukei danshi (‘grass-eating men’) image: today’s Japanese male youth appear to have no appetite for the ‘meat’ associated with heteronormative, competitively capitalistic male roles (Steger 2013). That is not to say all gender roles have vanished; instead, social and economic precarity has created a space for young people to subvert them. Whether by design or by accident, Rilakkuma has come to represent a Japanese consumer maintaining some standard of emotional equilibrium in the face of the instability that followed the Tōhoku earthquake, tsunami and nuclear disaster in early 2011. A Relaxed Bear in a Precarious Japan Certainly much has been written about the ‘lost decade(s)’ in Japan, or the unraveling of the Japanese postwar miracle since the early 1990s in a variety of unsettling ways. The burst of the ‘bubble economy’ in 1991 led to a period of low or no economic growth, uncertain employment conditions and deflation. Because of Japan’s relative wealth and mature economic system, this was seen a gradual process that Mark Driscoll calls a shift from the ‘so-called Japan Inc. of the 1980s’ to ‘“Japan Shrink” of the 2010s and 2020s’ (165). The Japanese economy was further troubled by the Global Financial Crisis of 2008, and then the Tōhoku disasters. These events have contributed to Japan’s state of ambivalence, as viewed by both its citizens and by external observers. Despite its relative wealth, the nation continues to struggle with deflation (and its corresponding stagnation of wages), a deepening chasm between the two-tier employment system of permanent and casual work, and a deepening public mistrust of corporate and governing authorities. Some of this story is not ‘new’; dual employment practices have existed throughout Japan’s postwar history. What has changed, however, is the attitudes of casual workers; it is now thought to be much more difficult, if not impossible, to shift from low paid, insecure casual labour to permanent, secure positions. The overall unemployment rate remains low precisely because the number of temporary and part time workers has increased, as much as one third of all workers in 2012 (The Japan Times). The Japanese government now concedes that ‘the balance of working conditions between regular and non-regular workers have therefore become important issues’ (Ministry of Health, Labour and Welfare); many see this is not only a distinction between ‘haves’ and ‘have-nots’, but also of a generational shift of those who achieved secure positions before the ‘lost decade’, and those who came after. Economic, political, environmental and social insecurity have given rise to a certain level public malaise, not conducive to a robust consumer culture. Enter Rilakkuma: he, like many other cute characters in Japan, entices the consumer to feel good about spending – or perhaps, to feel okay about spending? – in this precarious time of underemployment and uncertainty about the future. ‘Cute’ Characters: Attracting as Well as Attractive Cute (‘kawaii’) culture in Japan is not just aesthetic; it includes ‘a turn to emotion and even sentimentality, in some of the least likely places’ (Yano, 7). Cute kyarakutā are not just sentimentally attractive; they are more precisely attracting images which are used to sell these character goods: toys, household objects, clothing and stationery. Occhi writes that many kyarakutā are the result of an ‘anthropomorphization’ of objects or creatures which ‘guide the user towards specific [consumer] behaviors’ (78). While kyarakutā would be created first to sell a product, in the end, the character’s popularity at times can eclipse the product’s value, and the character thus becomes ‘pure product’, as in the case of Hello Kitty (Yano, 10). Most characters, however, merely function as ‘specific representatives of a product or service rendered mentally “sticky” through narratives, wordplay and other specialized aspects of their design’ (Occhi, 86). Miller refers to this phenomenon as ‘Japan’s zoomorphic urge’, and argues that etiquette guides and public service posters, which frequently use cute and cuddly animals in the place of humans, is done to ‘render […] potentially dangerous or sensitive topics as safe and acceptable’ (69). Cuteness instrumentally turns away from negative aspects of society, whether it is the demonstration of etiquette rules in public, or the portrayal of an underemployed or unemployed person watching TV at home, as in Rilakkuma. Thus we see a revitalization of the cute zeitgeist in Japanese consumerism in products such as the Rilakkuma franchise, produced by San-X, a company that produces and distributes ‘stationary [sic], sundry goods, merchandises [sic], and paper products with original design.’ (San-X Net). Who Is Rilakkuma? According to the company’s ‘fan’ books, written in response to the popularity of Rilakkuma’s character goods (Nakazawa), the background story of Rilakkuma is as follows: one day, a smallish bear found its way unexplained into the apartment of a Japanese OL (office lady) named Kaoru. He spends his time ‘being of no use to Kaoru, and is actually a pest by lying around all day doing nothing… his main concerns are meals and snacks. He seems to hate the summer [heat].’ Other activities include watching television, listening to music, taking long baths, and tossing balls of paper into the rubbish bin (Nakazawa, 4). His comrades are Korilakkuma (loosely translated as ‘Little Rilakkuma’) and Kiiroitori (simply, ‘Yellow Bird’). Korilakkuma is a smaller and paler version of Rilakkuma; like her friend, she appears in Kaoru’s apartment for no reason. She is described as liking to pull pranks (itazuradaisuki) and is comparatively more energetic (genki) than Rilakkuma; her main activities are imitating Rilakkuma and looking for someone with whom to play (6). Lastly, Kiiroitori is a small yellow bird resembling a chick, and seems to be the only character of the three who has any ‘right’ to reside in Kaoru’s apartment. Kiiroitori was a pet bird residing in cage before the appearance of these two bears, but after Rilakkuma and Korilakkuma set themselves up in her small apartment, Kiiroitori was liberated from his cage and flies in the faces of lazy Rilakkuma and mischievous Korilakkuma (7). Kiiroitori likes tidiness, and is frequently cleaning up after the lazy bears, and he can be short tempered about this (ibid). Kiiroitori’s interests include the charming but rather thrifty ‘finding spare change while cleaning up’ and ‘bear climbing’, which is enjoyed primarily for its annoyance to the bears (ibid). Fig. 1: Korilakkuma, Rilakkuma and Kiiroitori, in 10-year anniversary attire (photo by author). This narrative behind these character goods is yet another aspect of their commodification (in other words, their management, distribution and copyright protection). The information presented ­– the minute details of the characters’ existence, illustrated with cute drawings and calligraphy – enriches the consumer process by deepening the consumers’ interaction with the product. How does the story become as attractive as the cute character? One of the striking characteristics of the ‘official’ Rilakkuma discourse is the sense of ‘ikinari yattekita’ (things happening ‘out of the blue’; Nakazawa 22), or ‘naru yō ni narimasu’ (‘whatever will be will be’; 23) reasoning behind the narrative. Buyers want to know how and why these cute characters come into being, but there is no answer. To some extent, this vagueness reflects the reality of authorship: the characters were first conceptualized by a designer at San-X named Kondō Aki, who left the company soon after Rilakkuma’s debut in 2003 (Akibako). But this ‘out of the blue’ quality of the characters strikes a chord in many consumers’ view of their own lives: why are we here? what are we doing, and why do we do it? The existence of these characters and the reasons for their traits and preferences are inexplicable. There is no reason why or how Rilakkuma came to be – instead, readers are told that to just relax, ‘go with the flow’, and ‘what can be done today can always be done tomorrow’. Procrastination would normally be considered meiwaku, or bothersome to others who depend on you. In Productive Japan, this behavior is not valued. In Precarious Japan, however, underemployment and nonproductivity takes the pressure away from individuals to judge this behavior as negative. Procrastination shifts from meiwaku to normality, and to be transformed into kawaii culture, accepted and even celebrated as such. Rilakkuma is not the first Japanese pop cultural character to rub up against the hyper productive, gambaru (fight!) attitude associated with previous generations, with their associated tropes of the juken jikoku (exam preparation hell) for students, or the karōshi (death from overwork) salaried worker. An early example of this would be Chibi Marukochan (‘Little Maruko’), a comic character created in 1986 but whose popularity peaked in the 1990s. Maruko is an endearing but flawed primary school student who is cute and amusing, but also annoying and short tempered (Sakura). Flawed characters were frequently featured in Japanese popular culture, but Maruko was one of the first featured as heroine, not a jester-like sidekick. As an early example of Japanese cute, subversive characters, Maruko was often annoying and lazy, but she at least aspired to traits such as doing well in school and being a good daughter in her extended family. Rilakkuma, perhaps, demonstrates the extension of this cute but subversive hero/ine: when the stakes are lower (or at their lowest), so is the need for stress and anxiety. Taking it easy is the best option. Rilakkuma’s ‘charm point’ (chāmu pointo, which describes one’s personal appeal), is his transgressive cuteness, and this has paid off for San-X over the years in successful sales of his comic books as well as a variety of products (see fig. 2). Fig. 2: An example of some of the goods for sale in early 2014: a fleecy blanket, a 3d puzzle, note pads and stickers, decorative toggles for a school bag or purse, comic and ‘fan’ books, and a toy car (photo by the author). Over the decade between 2003 and 2013, San X has produced 51 volumes of Rilakkuma comics (Tonozuka, 37 – 42) and over 20 different series of stuffed animals (43 – 45); plus cushions, tote bags, tableware, stationery, and variety goods such as toilet paper holders, umbrellas and contact lens cases (46 – 52). While visiting the Rilakkuma themed shop in Tokyo Station in October 2013, a newly featured and popular product was the Rilakkuma ‘onesie’, a unisex and multipurpose outfit for adults. These products’ diversity are created to meet the consumer desires of Rilakkuma’s significant following in Japan; in a small-scale study of Japanese university students, researchers found that Rilakkuma was the number one nominated ‘favorite character’ (Nosu and Tanaka, 535). Furthermore, students claimed that the attractiveness of favorite characters were judged not just on their appearance, but also due to specific characteristics: ‘characters that are always idle, relaxed, stress-free’ and those ‘that have unusual behavior or stray from the right path’ (ibid) were cited as especially attractive/attracting. Just like Rilakkuma, these researchers found that young Japanese people – the demographic perhaps most troubled by an insecure economic future – are attracted to ‘characters that have flaws in some ways and are not merely cute’ (536). Where to, Rilakkuma? Miller, in her discussion of Japanese animal characters in a variety of cute cultural settings writes Non-human animals emerge as useful metaphors for humans, yet […] it is this aesthetic load rather than the lesson or the ideology behind the image that often becomes the center of our attention. […] However, I think it is useful to separate our analysis of zoomorphic images as vehicles for cuteness from their other possible uses and possible utility in many areas of culture (70). Similarly, we need to look beyond cute, and see what Miller terms as ‘the lesson’ behind the ‘aesthetic load’: here, how cuteness disguises social malaise and eases the shift from ‘Japan Inc.’ to ‘Japan Shrink’. When particular goods are ‘tied’ to other products, the message behind the ‘aesthetic load’ are complicated and deepened. Rilakkuma’s recent commercial (in)activity has been characterized by a variety of ‘tai uppu’ (tie ups), or promotional links between the Rilakkuma image and other similarly aligned products. Traditionally, tie ups in Japan have been most successful when formed between products that were associated with similar audiences and similar aesthetic preferences. We have seen tie ups, for example, between Hello Kitty and McDonald’s (targeting youthful fast food customers) since 1999 (Yano, 129). In ‘Japan Shrink’s’ competitive consumer market, tie ups are becoming more strategic, and all the more interesting. One of the troubled markets in Japan, as elsewhere, is the music industry. Shrinking expendable income coupled with a variety of downloading practices means the traditional popular music industry (primarily in the form of CDs) is in decline. In 2009, Rilakkuma began a co-badged campaign with Tower Records Japan – after all, listening to music is one of Rilakkuma’s listed favourite past times. TRJ was then independent from its failed US counterpart, and a major figure in the music retail scene despite disappointing CD sales since the late 1990s (Stevens, 85). To stir up consumer interest, TRJ offered objects, such as small dolls, towels and shopping bags, festooned with Rilakkuma images and phrases such as ‘Rilakkuma loves Tower Records’ and ‘Relaxed Tour 2012’ (Tonozuka, 72 – 73). Rilakkuma, in a familiar pose lying back with his arms crossed behind his head, but surrounded by musical notes and the phrase ‘No Music, No Life’ (72), presents compact image of the consumer zeitgeist of the day: one’s ikigai (reason for living) is clearly contingent on personal enjoyment, despite Japan’s music industry woes. Rilakkuma also enjoys a close relationship with the ubiquitous convenience store Lawson, which has over 11,000 individual stores throughout Japan and hundreds more overseas (Lawson, Corporate Information). Japanese konbini (the Japanese term for convenience stores), unlike their North American or Australian counterparts, enjoy a higher consumer image in terms of the quality and variety of their products, thus symbolize a certain relaxed lifestyle, as per Merry I. White’s description of the ‘no hands housewife’ breezing through the evening meal preparations thanks to ready made dishes purchased at konbini (72). Japanese convenience stores sell a variety of products, but sweets (Rilakkuma’s favourite) take up a large proportion of shelf space in many stores. The most current ‘Rilakkuma x Lawson campaign’ was undertaken between September and November 2013. During this period, customers earned points to receive a free teacup; certainly Rilakkuma’s cuteness motivated consumers to visit the store to get the prize. All was not well with this tie up, however; complaints about cracked teacups resulted in an external investigation. Finding no causal relationship between construction and fault, Lawson still apologized and offered to exchange any of the approximately 1.73 million cups with an alternate prize for any consumers who so wished (Lawson, An Apology). The alternate prize was still cute in its pink colouring and kawaii character pattern, but it was a larger and much sturdier commuter type mug. Here we see that while Rilakkuma is relaxed, he is still aware of corporate Japan’s increasing sense of corporate accountability and public health. One last tie up demonstrates an unusual alliance between the Rilakkuma franchise and other cultural icons. 2013 marked the ten-year anniversary of Rilakkuma and friends, and this was marked by several prominent campaigns. In Kyoto, we saw Rilakkuma and friends adorning o-mamori (religious amulets) at the famed Kinkakuji (Golden Pavilion), a major temple in Kyoto (see fig. 3a). The ‘languid dream’ of the lazy bear is a double-edged symbol, contrasting with the disciplined practice of Buddhism and complying with a Zen-like dream state of the beauty of the grounds. Another ten-year anniversary campaign was the tie up between Rilakkuma and the 50 year anniversary of JR’s Yamanote Line, the ‘city loop’ in Tokyo. Fig. 3a: Kiiroitori sits atop Rilakkuma with Korilakkuma by their side at the Golden Pavillion, Kyoto. The top caption reads: ‘Relaxed bear, Languid at the Golden Pavilion; Languid Dream Travelogue’Fig. 3b: a key chain made to celebrate Rilakkuma’s appointment to the JR Line; still lazy, Rilakkuma lies on his side but wears a conductor’s cap. This tie up was certainly a coup, for the Yamanote Line is a significant part of 13 million Tokyo residents’ lives, as well as a visible fixture in the cultural landscape since the early postwar period. The Yamanote, with its distinctive light green coloring (uguisuiro, which translates literally to ‘nightingale [bird] colour’) has its own aesthetic: as one of the first modern train lines in the capital, it runs through all the major leisure districts and is featured in many popular songs and even has its own drinking game. This nostalgia for the past, coupled with the masculine, super-efficient former national railway’s system is thus juxtaposed with the lazy, feminized teddy bear (Rilakkuma is male, but his domain is feminine), linking a longing for the past with gendered images of production and consumption in the present. In figure 3b, we see Rilakkuma riding the Yamanote on his own terms (lying on his side, propped up by one elbow – a pose we would never see a JR employee take in public). This cheeky cuteness increases the iconic train’s appeal to its everyday consumers, for despite its efficiency, this line is severely overcrowded during peak hours and suffers from user malaise with respect to etiquette and safety issues. Life in contemporary Japan is no longer the bright, shiny ‘bubble’ of the 1980s. Japan is wrestling with internal and external demons: the nuclear crisis, the lagging economy, deteriorating relations with China, and a generation of young people who have never experienced the optimism of their parents’ generation. Dreamlike, Japan’s denizens move through the contours of their daily lives much as they have in the past, for major social structures remain for the most part in tact; instead, it is the vision of the future that has altered. In this environment, we can argue that kawaii aesthetics are all the more important, for if we are uncomfortable thinking about negative or depressing topics such as industries in decline, questionable consumer safety standards, and overcrowded trains, a cute bear can make it much more ‘bear’-able.ReferencesDriscoll, Mark. “Debt and Denunciation in Post-Bubble Japan: On the Two Freeters.” Cultural Critique 65 (2007): 164-187. Kondō Aki - akibako. “Profile [of Designer Aki Kondō].” 6 Feb. 2014 ‹http://www.akibako.jp/profile/›. Lawson. “Kigyō Jōhō: Kaisha Gaiyō [Corporate Information: Company Overview].” Feb. 2013. 10 Feb. 2014 ‹http://www.lawson.co.jp/company/corporate/about.html/›. Lawson. “Owabi to Oshirase: Rōson aki no rilakkuma fea keihin ‘rilakkuma tei magu’ hason no osore [An Apology and Announcement: Lawson’s Autumn Rilakkuma Fair Giveaway ‘Rilakkuma Tea Mug’ Concern for Damage.” 2 Dec. 2013. 10 Feb. 2014 ‹http://www.lawson.co.jp/emergency/detail/detail_84331.html›. Miller, Laura. “Japan’s Zoomorphic Urge.” ASIANetwork Exchange XVII.2 (2010): 69-82. Ministry of Health, Labour and Welfare. “Employment Security.” 10 Feb. 2014 ‹http://www.mhlw.go.jp/english/policy/employ-labour/employment-security/dl/employment_security_bureau.pdf›. Nakazawa Kumiko, ed. Rirakkuma Daradara Fuan Bukku [Relaxed Bear Leisurely Fan Book]. Tokyo: Kabushikigaisha Shufutoseikatsu. 2008. Nosu, Kiyoshi, and Mai Tanaka. “Factors That Contribute to Japanese University Students’ Evaluations of the Attractiveness of Characters.” IEEJ Transactions on Electrical and Electronic Engineering 8.5 (2013): 535–537. Occhi, Debra J. “Consuming Kyara ‘Characters’: Anthropomorphization and Marketing in Contemporary Japan.” Comparative Culture 15 (2010): 78–87. Roberson, James E., and Nobue Suzuki, “Introduction”, in J. Roberson and N. Suzuki, eds., Men and Masculinities in Contemporary Japan: Dislocating the Salaryman Doxa. London: RoutledgeCurzon, 2003. 1-19. Sakura, Momoko. Chibi Marukochan 1 [Little Maruko, vol. 1]. Tokyo: Shūeisha, 1987 [1990]. San-X Net. “Company Info.” 10 Feb. 2014 ‹http://www.san-x.jp/COMPANY_INFO.html›. Steger, Brigitte. “Negotiating Gendered Space on Japanese Commuter Trains.” ejcjs 13.3 (2013). 29 Apr. 2014 ‹http://www.japanesestudies.org.uk/ejcjs/vol13/iss3/steger.html› Stevens, Carolyn S. Japanese Popular Music: Culture, Authenticity and Power. London: Routledge, 2008. The Japan Times. “Nonregulars at Record 35.2% of Workforce.” 22 Feb. 2012. 6 Feb. 2014 ‹http://www.japantimes.co.jp/news/2012/02/22/news/nonregulars-at-record-35-2-of-workforce/#.UvMb-kKSzeM›. Tonozuka Ikuo, ed. Rirakkuma Tsuzuki Daradara Fan Book [Relaxed Bear Leisurely Fan Book, Continued]. Tokyo: Kabushikigaisha Shufutoseikatsu, 2013. Treat, John Whittier. “Yoshimoto Banana’s Kitchen, or The Cultural Logic of Japanese Consumerism.” In L. Skov and B. Moeran, eds., Women, Media and Consumption in Japan, Surrey: Curzon, 1995. 274-298. White, Merry I. “Ladies Who Lunch: Young Women and the Domestic Fallacy in Japan.” In K. Cwiertka and B. Walraven, eds., Asian Food: The Global and the Local. Honolulu: University of Hawai’i Press, 2001. 63-75. Yano, Christine R. Pink Globalization: Hello Kitty’s Trek across the Pacific. Durham, NC: Duke University Press, 2013.

A common criticism of the rhythm video games genre — including series like Guitar Hero and Rock Band, is that playing musical simulation games is a waste of time when you could be playing an actual guitar and learning a real skill. A more serious criticism of games cultures draws attention to the degree of e-waste they produce. E-waste or electronic waste includes mobiles phones, computers, televisions and other electronic devices, containing toxic chemicals and metals whose landfill, recycling and salvaging all produce distinct environmental and social problems. The e-waste produced by games like Guitar Hero is obvious in the regular flow of merchandise transforming computer and video games stores into simulation music stores, filled with replica guitars, drum kits, microphones and other products whose half-lives are short and whose obsolescence is anticipated in the annual cycles of consumption and disposal. This paper explores the connection between e-waste and obsolescence in the games industry, and argues for the further consideration of consumers as part of the solution to the problem of e-waste. It uses a case study of the PC digital distribution software platform, Steam, to suggest that the digital distribution of games may offer an alternative model to market driven software and hardware obsolescence, and more generally, that such software platforms might be a place to support cultures of consumption that delay rather than promote hardware obsolescence and its inevitability as e-waste. The question is whether there exists a potential for digital distribution to be a means of not only eliminating the need to physically transport commodities (its current 'green' benefit), but also for supporting consumer practices that further reduce e-waste. The games industry relies on a rapid production and innovation cycle, one that actively enforces hardware obsolescence. Current video game consoles, including the PlayStation 3, the Xbox 360 and Nintendo Wii, are the seventh generation of home gaming consoles to appear within forty years, and each generation is accompanied by an immense international transportation of games hardware, software (in various storage formats) and peripherals. Obsolescence also occurs at the software or content level and is significant because the games industry as a creative industry is dependent on the extensive management of multiple intellectual properties. The computing and video games software industry operates a close partnership with the hardware industry, and as such, software obsolescence directly contributes to hardware obsolescence. The obsolescence of content and the redundancy of the methods of policing its scarcity in the marketplace has been accelerated and altered by the processes of disintermediation with a range of outcomes (Flew). The music industry is perhaps the most advanced in terms of disintermediation with digital distribution at the center of the conflict between the legitimate and unauthorised access to intellectual property. This points to one issue with the hypothesis that digital distribution can lead to a reduction in hardware obsolescence, as the marketplace leader and key online distributor of music, Apple, is also the major producer of new media technologies and devices that are the paragon of stylistic obsolescence. Stylistic obsolescence, in which fashion changes products across seasons of consumption, has long been observed as the dominant form of scaled industrial innovation (Slade). Stylistic obsolescence is differentiated from mechanical or technological obsolescence as the deliberate supersedence of products by more advanced designs, better production techniques and other minor innovations. The line between the stylistic and technological obsolescence is not always clear, especially as reduced durability has become a powerful market strategy (Fitzpatrick). This occurs where the design of technologies is subsumed within the discourses of manufacturing, consumption and the logic of planned obsolescence in which the product or parts are intended to fail, degrade or under perform over time. It is especially the case with signature new media technologies such as laptop computers, mobile phones and portable games devices. Gamers are as guilty as other consumer groups in contributing to e-waste as participants in the industry's cycles of planned obsolescence, but some of them complicate discussions over the future of obsolescence and e-waste. Many gamers actively work to forestall the obsolescence of their games: they invest time in the play of older games (“retrogaming”) they donate labor and creative energy to the production of user-generated content as a means of sustaining involvement in gaming communities; and they produce entirely new game experiences for other users, based on existing software and hardware modifications known as 'mods'. With Guitar Hero and other 'rhythm' games it would be easy to argue that the hardware components of this genre have only one future: as waste. Alternatively, we could consider the actual lifespan of these objects (including their impact as e-waste) and the roles they play in the performances and practices of communities of gamers. For example, the Elmo Guitar Hero controller mod, the Tesla coil Guitar Hero controller interface, the Rock Band Speak n' Spellbinder mashup, the multiple and almost sacrilegious Fender guitar hero mods, the Guitar Hero Portable Turntable Mod and MAKE magazine's Trumpet Hero all indicate a significant diversity of user innovation, community formation and individual investment in the post-retail life of computer and video game hardware. Obsolescence is not just a problem for the games industry but for the computing and electronics industries more broadly as direct contributors to the social and environmental cost of electrical waste and obsolete electrical equipment. Planned obsolescence has long been the experience of gamers and computer users, as the basis of a utopian mythology of upgrades (Dovey and Kennedy). For PC users the upgrade pathway is traversed by the consumption of further hardware and software post initial purchase in a cycle of endless consumption, acquisition and waste (as older parts are replaced and eventually discarded). The accumulation and disposal of these cultural artefacts does not devalue or accrue in space or time at the same rate (Straw) and many users will persist for years, gradually upgrading and delaying obsolescence and even perpetuate the circulation of older cultural commodities. Flea markets and secondhand fairs are popular sites for the purchase of new, recent, old, and recycled computer hardware, and peripherals. Such practices and parallel markets support the strategies of 'making do' described by De Certeau, but they also continue the cycle of upgrade and obsolescence, and they are still consumed as part of the promise of the 'new', and the desire of a purchase that will finally 'fix' the users' computer in a state of completion (29). The planned obsolescence of new media technologies is common, but its success is mixed; for example, support for Microsoft's operating system Windows XP was officially withdrawn in April 2009 (Robinson), but due to the popularity in low cost PC 'netbooks' outfitted with an optimised XP operating system and a less than enthusiastic response to the 'next generation' Windows Vista, XP continues to be popular. Digital Distribution: A Solution? Gamers may be able to reduce the accumulation of e-waste by supporting the disintermediation of the games retail sector by means of online distribution. Disintermediation is the establishment of a direct relationship between the creators of content and their consumers through products and services offered by content producers (Flew 201). The move to digital distribution has already begun to reduce the need to physically handle commodities, but this currently signals only further support of planned, stylistic and technological obsolescence, increasing the rate at which the commodities for recording, storing, distributing and exhibiting digital content become e-waste. Digital distribution is sometimes overlooked as a potential means for promoting communities of user practice dedicated to e-waste reduction, at the same time it is actively employed to reduce the potential for the unregulated appropriation of content and restrict post-purchase sales through Digital Rights Management (DRM) technologies. Distributors like Amazon.com continue to pursue commercial opportunities in linking the user to digital distribution of content via exclusive hardware and software technologies. The Amazon e-book reader, the Kindle, operates via a proprietary mobile network using a commercially run version of the wireless 3G protocols. The e-book reader is heavily encrypted with Digital Rights Management (DRM) technologies and exclusive digital book formats designed to enforce current copyright restrictions and eliminate second-hand sales, lending, and further post-purchase distribution. The success of this mode of distribution is connected to Amazon's ability to tap both the mainstream market and the consumer demand for the less-than-popular; those books, movies, music and television series that may not have been 'hits' at the time of release. The desire to revisit forgotten niches, such as B-sides, comics, books, and older video games, suggests Chris Anderson, linked with so-called “long tail” economics. Recently Webb has queried the economic impact of the Long Tail as a business strategy, but does not deny the underlying dynamics, which suggest that content does not obsolesce in any straightforward way. Niche markets for older content are nourished by participatory cultures and Web 2.0 style online services. A good example of the Long Tail phenomenon is the recent case of the 1971 book A Lion Called Christian, by Anthony Burke and John Rendall, republished after the author's film of a visit to a resettled Christian in Africa was popularised on YouTube in 2008. Anderson's Long Tail theory suggests that over time a large number of items, each with unique rather than mass histories, will be subsumed as part of a larger community of consumers, including fans, collectors and everyday users with a long term interest in their use and preservation. If digital distribution platforms can reduce e-waste, they can perhaps be fostered by to ensuring digital consumers have access to morally and ethically aware consumer decisions, but also that they enjoy traditional consumer freedoms, such as the right to sell on and change or modify their property. For it is not only the fixation on the 'next generation' that contributes to obsolescence, but also technologies like DRM systems that discourage second hand sales and restrict modification. The legislative upgrades, patches and amendments to copyright law that have attempted to maintain the law's effectiveness in competing with peer-to-peer networks have supported DRM and other intellectual property enforcement technologies, despite the difficulties that owners of intellectual property have encountered with the effectiveness of DRM systems (Moore, Creative). The games industry continues to experiment with DRM, however, this industry also stands out as one of the few to have significantly incorporated the user within the official modes of production (Moore, Commonising). Is the games industry capable (or willing) of supporting a digital delivery system that attempts to minimise or even reverse software and hardware obsolescence? We can try to answer this question by looking in detail at the biggest digital distributor of PC games, Steam. Steam Figure 1: The Steam Application user interface retail section Steam is a digital distribution system designed for the Microsoft Windows operating system and operated by American video game development company and publisher, Valve Corporation. Steam combines online games retail, DRM technologies and internet-based distribution services with social networking and multiplayer features (in-game voice and text chat, user profiles, etc) and direct support for major games publishers, independent producers, and communities of user-contributors (modders). Steam, like the iTunes games store, Xbox Live and other digital distributors, provides consumers with direct digital downloads of new, recent and classic titles that can be accessed remotely by the user from any (internet equipped) location. Steam was first packaged with the physical distribution of Half Life 2 in 2004, and the platform's eventual popularity is tied to the success of that game franchise. Steam was not an optional component of the game's installation and many gamers protested in various online forums, while the platform was treated with suspicion by the global PC games press. It did not help that Steam was at launch everything that gamers take objection to: a persistent and initially 'buggy' piece of software that sits in the PC's operating system and occupies limited memory resources at the cost of hardware performance. Regular updates to the Steam software platform introduced social network features just as mainstream sites like MySpace and Facebook were emerging, and its popularity has undergone rapid subsequent growth. Steam now eclipses competitors with more than 20 million user accounts (Leahy) and Valve Corporation makes it publicly known that Steam collects large amounts of data about its users. This information is available via the public player profile in the community section of the Steam application. It includes the average number of hours the user plays per week, and can even indicate the difficulty the user has in navigating game obstacles. Valve reports on the number of users on Steam every two hours via its web site, with a population on average between one and two million simultaneous users (Valve, Steam). We know these users’ hardware profiles because Valve Corporation makes the results of its surveillance public knowledge via the Steam Hardware Survey. Valve’s hardware survey itself conceptualises obsolescence in two ways. First, it uses the results to define the 'cutting edge' of PC technologies and publishing the standards of its own high end production hardware on the companies blog. Second, the effect of the Survey is to subsequently define obsolescent hardware: for example, in the Survey results for April 2009, we can see that the slight majority of users maintain computers with two central processing units while a significant proportion (almost one third) of users still maintained much older PCs with a single CPU. Both effects of the Survey appear to be well understood by Valve: the Steam Hardware Survey automatically collects information about the community's computer hardware configurations and presents an aggregate picture of the stats on our web site. The survey helps us make better engineering and gameplay decisions, because it makes sure we're targeting machines our customers actually use, rather than measuring only against the hardware we've got in the office. We often get asked about the configuration of the machines we build around the office to do both game and Steam development. We also tend to turn over machines in the office pretty rapidly, at roughly every 18 months. (Valve, Team Fortress) Valve’s support of older hardware might counter perceptions that older PCs have no use and begins to reverse decades of opinion regarding planned and stylistic obsolescence in the PC hardware and software industries. Equally significant to the extension of the lives of older PCs is Steam's support for mods and its promotion of user generated content. By providing software for mod creation and distribution, Steam maximises what Postigo calls the development potential of fan-programmers. One of the 'payoffs' in the information/access exchange for the user with Steam is the degree to which Valve's End-User Licence Agreement (EULA) permits individuals and communities of 'modders' to appropriate its proprietary game content for use in the creation of new games and games materials for redistribution via Steam. These mods extend the play of the older games, by requiring their purchase via Steam in order for the individual user to participate in the modded experience. If Steam is able to encourage this kind of appropriation and community support for older content, then the potential exists for it to support cultures of consumption and practice of use that collaboratively maintain, extend, and prolong the life and use of games. Further, Steam incorporates the insights of “long tail” economics in a purely digital distribution model, in which the obsolescence of 'non-hit' game titles can be dramatically overturned. Published in November 2007, Unreal Tournament 3 (UT3) by Epic Games, was unappreciated in a market saturated with games in the first-person shooter genre. Epic republished UT3 on Steam 18 months later, making the game available to play for free for one weekend, followed by discounted access to new content. The 2000 per cent increase in players over the game's 'free' trial weekend, has translated into enough sales of the game for Epic to no longer consider the release a commercial failure: It’s an incredible precedent to set: making a game a success almost 18 months after a poor launch. It’s something that could only have happened now, and with a system like Steam...Something that silently updates a purchase with patches and extra content automatically, so you don’t have to make the decision to seek out some exciting new feature: it’s just there anyway. Something that, if you don’t already own it, advertises that game to you at an agreeably reduced price whenever it loads. Something that enjoys a vast community who are in turn plugged into a sea of smaller relevant communities. It’s incredibly sinister. It’s also incredibly exciting... (Meer) Clearly concerns exist about Steam's user privacy policy, but this also invites us to the think about the economic relationship between gamers and games companies as it is reconfigured through the private contractual relationship established by the EULA which accompanies the digital distribution model. The games industry has established contractual and licensing arrangements with its consumer base in order to support and reincorporate emerging trends in user generated cultures and other cultural formations within its official modes of production (Moore, "Commonising"). When we consider that Valve gets to tax sales of its virtual goods and can further sell the information farmed from its users to hardware manufacturers, it is reasonable to consider the relationship between the corporation and its gamers as exploitative. Gabe Newell, the Valve co-founder and managing director, conversely believes that people are willing to give up personal information if they feel it is being used to get better services (Leahy). If that sentiment is correct then consumers may be willing to further trade for services that can reduce obsolescence and begin to address the problems of e-waste from the ground up. Conclusion Clearly, there is a potential for digital distribution to be a means of not only eliminating the need to physically transport commodities but also supporting consumer practices that further reduce e-waste. For an industry where only a small proportion of the games made break even, the successful relaunch of older games content indicates Steam's capacity to ameliorate software obsolescence. Digital distribution extends the use of commercially released games by providing disintermediated access to older and user-generated content. For Valve, this occurs within a network of exchange as access to user-generated content, social networking services, and support for the organisation and coordination of communities of gamers is traded for user-information and repeat business. Evidence for whether this will actively translate to an equivalent decrease in the obsolescence of game hardware might be observed with indicators like the Steam Hardware Survey in the future. The degree of potential offered by digital distribution is disrupted by a range of technical, commercial and legal hurdles, primary of which is the deployment of DRM, as part of a range of techniques designed to limit consumer behaviour post purchase. While intervention in the form of legislation and radical change to the insidious nature of electronics production is crucial in order to achieve long term reduction in e-waste, the user is currently considered only in terms of 'ethical' consumption and ultimately divested of responsibility through participation in corporate, state and civil recycling and e-waste management operations. The message is either 'careful what you purchase' or 'careful how you throw it away' and, like DRM, ignores the connections between product, producer and user and the consumer support for environmentally, ethically and socially positive production, distribrution, disposal and recycling. This article, has adopted a different strategy, one that sees digital distribution platforms like Steam, as capable, if not currently active, in supporting community practices that should be seriously considered in conjunction with a range of approaches to the challenge of obsolescence and e-waste. 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When George Orwell encountered ideas of a technological utopia sixty-five years ago, he acted the grumpy middle-aged man Reading recently a batch of rather shallowly optimistic “progressive” books, I was struck by the automatic way in which people go on repeating certain phrases which were fashionable before 1914. Two great favourites are “the abolition of distance” and “the disappearance of frontiers”. I do not know how often I have met with the statements that “the aeroplane and the radio have abolished distance” and “all parts of the world are now interdependent” (1944). It is worth revisiting the old boy’s grumpiness, because the rhetoric he so niftily skewers continues in our own time. Facebook features “Peace on Facebook” and even claims that it can “decrease world conflict” through inter-cultural communication. Twitter has announced itself as “a triumph of humanity” (“A Cyber-House” 61). Queue George. In between Orwell and latter-day hoody cybertarians, a whole host of excitable public intellectuals announced the impending end of materiality through emergent media forms. Marshall McLuhan, Neil Postman, Daniel Bell, Ithiel de Sola Pool, George Gilder, Alvin Toffler—the list of 1960s futurists goes on and on. And this wasn’t just a matter of punditry: the OECD decreed the coming of the “information society” in 1975 and the European Union (EU) followed suit in 1979, while IBM merrily declared an “information age” in 1977. Bell theorized this technological utopia as post-ideological, because class would cease to matter (Mattelart). Polluting industries seemingly no longer represented the dynamic core of industrial capitalism; instead, market dynamism radiated from a networked, intellectual core of creative and informational activities. The new information and knowledge-based economies would rescue First World hegemony from an “insurgent world” that lurked within as well as beyond itself (Schiller). Orwell’s others and the Cold-War futurists propagated one of the most destructive myths shaping both public debate and scholarly studies of the media, culture, and communication. They convinced generations of analysts, activists, and arrivistes that the promises and problems of the media could be understood via metaphors of the environment, and that the media were weightless and virtual. The famous medium they wished us to see as the message —a substance as vital to our wellbeing as air, water, and soil—turned out to be no such thing. Today’s cybertarians inherit their anti-Marxist, anti-materialist positions, as a casual glance at any new media journal, culture-industry magazine, or bourgeois press outlet discloses. The media are undoubtedly important instruments of social cohesion and fragmentation, political power and dissent, democracy and demagoguery, and other fraught extensions of human consciousness. But talk of media systems as equivalent to physical ecosystems—fashionable among marketers and media scholars alike—is predicated on the notion that they are environmentally benign technologies. This has never been true, from the beginnings of print to today’s cloud-covered computing. Our new book Greening the Media focuses on the environmental impact of the media—the myriad ways that media technology consumes, despoils, and wastes natural resources. We introduce ideas, stories, and facts that have been marginal or absent from popular, academic, and professional histories of media technology. Throughout, ecological issues have been at the core of our work and we immodestly think the same should apply to media communications, and cultural studies more generally. We recognize that those fields have contributed valuable research and teaching that address environmental questions. For instance, there is an abundant literature on representations of the environment in cinema, how to communicate environmental messages successfully, and press coverage of climate change. That’s not enough. You may already know that media technologies contain toxic substances. You may have signed an on-line petition protesting the hazardous and oppressive conditions under which workers assemble cell phones and computers. But you may be startled, as we were, by the scale and pervasiveness of these environmental risks. They are present in and around every site where electronic and electric devices are manufactured, used, and thrown away, poisoning humans, animals, vegetation, soil, air and water. We are using the term “media” as a portmanteau word to cover a multitude of cultural and communications machines and processes—print, film, radio, television, information and communications technologies (ICT), and consumer electronics (CE). This is not only for analytical convenience, but because there is increasing overlap between the sectors. CE connect to ICT and vice versa; televisions resemble computers; books are read on telephones; newspapers are written through clouds; and so on. Cultural forms and gadgets that were once separate are now linked. The currently fashionable notion of convergence doesn’t quite capture the vastness of this integration, which includes any object with a circuit board, scores of accessories that plug into it, and a global nexus of labor and environmental inputs and effects that produce and flow from it. In 2007, a combination of ICT/CE and media production accounted for between 2 and 3 percent of all greenhouse gases emitted around the world (“Gartner Estimates,”; International Telecommunication Union; Malmodin et al.). Between twenty and fifty million tonnes of electronic waste (e-waste) are generated annually, much of it via discarded cell phones and computers, which affluent populations throw out regularly in order to buy replacements. (Presumably this fits the narcissism of small differences that distinguishes them from their own past.) E-waste is historically produced in the Global North—Australasia, Western Europe, Japan, and the US—and dumped in the Global South—Latin America, Africa, Eastern Europe, Southern and Southeast Asia, and China. It takes the form of a thousand different, often deadly, materials for each electrical and electronic gadget. This trend is changing as India and China generate their own media detritus (Robinson; Herat). Enclosed hard drives, backlit screens, cathode ray tubes, wiring, capacitors, and heavy metals pose few risks while these materials remain encased. But once discarded and dismantled, ICT/CE have the potential to expose workers and ecosystems to a morass of toxic components. Theoretically, “outmoded” parts could be reused or swapped for newer parts to refurbish devices. But items that are defined as waste undergo further destruction in order to collect remaining parts and valuable metals, such as gold, silver, copper, and rare-earth elements. This process causes serious health risks to bones, brains, stomachs, lungs, and other vital organs, in addition to birth defects and disrupted biological development in children. Medical catastrophes can result from lead, cadmium, mercury, other heavy metals, poisonous fumes emitted in search of precious metals, and such carcinogenic compounds as polychlorinated biphenyls, dioxin, polyvinyl chloride, and flame retardants (Maxwell and Miller 13). The United States’ Environmental Protection Agency estimates that by 2007 US residents owned approximately three billion electronic devices, with an annual turnover rate of 400 million units, and well over half such purchases made by women. Overall CE ownership varied with age—adults under 45 typically boasted four gadgets; those over 65 made do with one. The Consumer Electronics Association (CEA) says US$145 billion was expended in the sector in 2006 in the US alone, up 13% on the previous year. The CEA refers joyously to a “consumer love affair with technology continuing at a healthy clip.” In the midst of a recession, 2009 saw $165 billion in sales, and households owned between fifteen and twenty-four gadgets on average. By 2010, US$233 billion was spent on electronic products, three-quarters of the population owned a computer, nearly half of all US adults owned an MP3 player, and 85% had a cell phone. By all measures, the amount of ICT/CE on the planet is staggering. As investigative science journalist, Elizabeth Grossman put it: “no industry pushes products into the global market on the scale that high-tech electronics does” (Maxwell and Miller 2). In 2007, “of the 2.25 million tons of TVs, cell phones and computer products ready for end-of-life management, 18% (414,000 tons) was collected for recycling and 82% (1.84 million tons) was disposed of, primarily in landfill” (Environmental Protection Agency 1). Twenty million computers fell obsolete across the US in 1998, and the rate was 130,000 a day by 2005. It has been estimated that the five hundred million personal computers discarded in the US between 1997 and 2007 contained 6.32 billion pounds of plastics, 1.58 billion pounds of lead, three million pounds of cadmium, 1.9 million pounds of chromium, and 632000 pounds of mercury (Environmental Protection Agency; Basel Action Network and Silicon Valley Toxics Coalition 6). The European Union is expected to generate upwards of twelve million tons annually by 2020 (Commission of the European Communities 17). While refrigerators and dangerous refrigerants account for the bulk of EU e-waste, about 44% of the most toxic e-waste measured in 2005 came from medium-to-small ICT/CE: computer monitors, TVs, printers, ink cartridges, telecommunications equipment, toys, tools, and anything with a circuit board (Commission of the European Communities 31-34). Understanding the enormity of the environmental problems caused by making, using, and disposing of media technologies should arrest our enthusiasm for them. But intellectual correctives to the “love affair” with technology, or technophilia, have come and gone without establishing much of a foothold against the breathtaking flood of gadgets and the propaganda that proclaims their awe-inspiring capabilities.[i] There is a peculiar enchantment with the seeming magic of wireless communication, touch-screen phones and tablets, flat-screen high-definition televisions, 3-D IMAX cinema, mobile computing, and so on—a totemic, quasi-sacred power that the historian of technology David Nye has named the technological sublime (Nye Technological Sublime 297).[ii] We demonstrate in our book why there is no place for the technological sublime in projects to green the media. But first we should explain why such symbolic power does not accrue to more mundane technologies; after all, for the time-strapped cook, a pressure cooker does truly magical things. Three important qualities endow ICT/CE with unique symbolic potency—virtuality, volume, and novelty. The technological sublime of media technology is reinforced by the “virtual nature of much of the industry’s content,” which “tends to obscure their responsibility for a vast proliferation of hardware, all with high levels of built-in obsolescence and decreasing levels of efficiency” (Boyce and Lewis 5). Planned obsolescence entered the lexicon as a new “ethics” for electrical engineering in the 1920s and ’30s, when marketers, eager to “habituate people to buying new products,” called for designs to become quickly obsolete “in efficiency, economy, style, or taste” (Grossman 7-8).[iii] This defines the short lifespan deliberately constructed for computer systems (drives, interfaces, operating systems, batteries, etc.) by making tiny improvements incompatible with existing hardware (Science and Technology Council of the American Academy of Motion Picture Arts and Sciences 33-50; Boyce and Lewis). With planned obsolescence leading to “dizzying new heights” of product replacement (Rogers 202), there is an overstated sense of the novelty and preeminence of “new” media—a “cult of the present” is particularly dazzled by the spread of electronic gadgets through globalization (Mattelart and Constantinou 22). References to the symbolic power of media technology can be found in hymnals across the internet and the halls of academe: technologies change us, the media will solve social problems or create new ones, ICTs transform work, monopoly ownership no longer matters, journalism is dead, social networking enables social revolution, and the media deliver a cleaner, post-industrial, capitalism. Here is a typical example from the twilight zone of the technological sublime (actually, the OECD): A major feature of the knowledge-based economy is the impact that ICTs have had on industrial structure, with a rapid growth of services and a relative decline of manufacturing. Services are typically less energy intensive and less polluting, so among those countries with a high and increasing share of services, we often see a declining energy intensity of production … with the emergence of the Knowledge Economy ending the old linear relationship between output and energy use (i.e. partially de-coupling growth and energy use) (Houghton 1) This statement mixes half-truths and nonsense. In reality, old-time, toxic manufacturing has moved to the Global South, where it is ascendant; pollution levels are rising worldwide; and energy consumption is accelerating in residential and institutional sectors, due almost entirely to ICT/CE usage, despite advances in energy conservation technology (a neat instance of the age-old Jevons Paradox). In our book we show how these are all outcomes of growth in ICT/CE, the foundation of the so-called knowledge-based economy. ICT/CE are misleadingly presented as having little or no material ecological impact. In the realm of everyday life, the sublime experience of electronic machinery conceals the physical work and material resources that go into them, while the technological sublime makes the idea that more-is-better palatable, axiomatic; even sexy. In this sense, the technological sublime relates to what Marx called “the Fetishism which attaches itself to the products of labour” once they are in the hands of the consumer, who lusts after them as if they were “independent beings” (77). There is a direct but unseen relationship between technology’s symbolic power and the scale of its environmental impact, which the economist Juliet Schor refers to as a “materiality paradox” —the greater the frenzy to buy goods for their transcendent or nonmaterial cultural meaning, the greater the use of material resources (40-41). We wrote Greening the Media knowing that a study of the media’s effect on the environment must work especially hard to break the enchantment that inflames popular and elite passions for media technologies. We understand that the mere mention of the political-economic arrangements that make shiny gadgets possible, or the environmental consequences of their appearance and disappearance, is bad medicine. It’s an unwelcome buzz kill—not a cool way to converse about cool stuff. But we didn’t write the book expecting to win many allies among high-tech enthusiasts and ICT/CE industry leaders. We do not dispute the importance of information and communication media in our lives and modern social systems. We are media people by profession and personal choice, and deeply immersed in the study and use of emerging media technologies. But we think it’s time for a balanced assessment with less hype and more practical understanding of the relationship of media technologies to the biosphere they inhabit. Media consumers, designers, producers, activists, researchers, and policy makers must find new and effective ways to move ICT/CE production and consumption toward ecologically sound practices. In the course of this project, we found in casual conversation, lecture halls, classroom discussions, and correspondence, consistent and increasing concern with the environmental impact of media technology, especially the deleterious effects of e-waste toxins on workers, air, water, and soil. We have learned that the grip of the technological sublime is not ironclad. Its instability provides a point of departure for investigating and criticizing the relationship between the media and the environment. The media are, and have been for a long time, intimate environmental participants. Media technologies are yesterday’s, today’s, and tomorrow’s news, but rarely in the way they should be. The prevailing myth is that the printing press, telegraph, phonograph, photograph, cinema, telephone, wireless radio, television, and internet changed the world without changing the Earth. In reality, each technology has emerged by despoiling ecosystems and exposing workers to harmful environments, a truth obscured by symbolic power and the power of moguls to set the terms by which such technologies are designed and deployed. Those who benefit from ideas of growth, progress, and convergence, who profit from high-tech innovation, monopoly, and state collusion—the military-industrial-entertainment-academic complex and multinational commandants of labor—have for too long ripped off the Earth and workers. As the current celebration of media technology inevitably winds down, perhaps it will become easier to comprehend that digital wonders come at the expense of employees and ecosystems. This will return us to Max Weber’s insistence that we understand technology in a mundane way as a “mode of processing material goods” (27). Further to understanding that ordinariness, we can turn to the pioneering conversation analyst Harvey Sacks, who noted three decades ago “the failures of technocratic dreams [:] that if only we introduced some fantastic new communication machine the world will be transformed.” Such fantasies derived from the very banality of these introductions—that every time they took place, one more “technical apparatus” was simply “being made at home with the rest of our world’ (548). Media studies can join in this repetitive banality. Or it can withdraw the welcome mat for media technologies that despoil the Earth and wreck the lives of those who make them. In our view, it’s time to green the media by greening media studies. References “A Cyber-House Divided.” Economist 4 Sep. 2010: 61-62. “Gartner Estimates ICT Industry Accounts for 2 Percent of Global CO2 Emissions.” Gartner press release. 6 April 2007. ‹http://www.gartner.com/it/page.jsp?id=503867›. Basel Action Network and Silicon Valley Toxics Coalition. Exporting Harm: The High-Tech Trashing of Asia. Seattle: Basel Action Network, 25 Feb. 2002. Benjamin, Walter. “Central Park.” Trans. Lloyd Spencer with Mark Harrington. New German Critique 34 (1985): 32-58. Biagioli, Mario. “Postdisciplinary Liaisons: Science Studies and the Humanities.” Critical Inquiry 35.4 (2009): 816-33. Boyce, Tammy and Justin Lewis, eds. Climate Change and the Media. New York: Peter Lang, 2009. Commission of the European Communities. “Impact Assessment.” Commission Staff Working Paper accompanying the Proposal for a Directive of the European Parliament and of the Council on Waste Electrical and Electronic Equipment (WEEE) (recast). COM (2008) 810 Final. Brussels: Commission of the European Communities, 3 Dec. 2008. Environmental Protection Agency. Management of Electronic Waste in the United States. Washington, DC: EPA, 2007 Environmental Protection Agency. Statistics on the Management of Used and End-of-Life Electronics. Washington, DC: EPA, 2008 Grossman, Elizabeth. Tackling High-Tech Trash: The E-Waste Explosion & What We Can Do about It. New York: Demos, 2008. ‹http://www.demos.org/pubs/e-waste_FINAL.pdf› Herat, Sunil. “Review: Sustainable Management of Electronic Waste (e-Waste).” Clean 35.4 (2007): 305-10. Houghton, J. “ICT and the Environment in Developing Countries: Opportunities and Developments.” Paper prepared for the Organization for Economic Cooperation and Development, 2009. International Telecommunication Union. ICTs for Environment: Guidelines for Developing Countries, with a Focus on Climate Change. Geneva: ICT Applications and Cybersecurity Division Policies and Strategies Department ITU Telecommunication Development Sector, 2008. Malmodin, Jens, Åsa Moberg, Dag Lundén, Göran Finnveden, and Nina Lövehagen. “Greenhouse Gas Emissions and Operational Electricity Use in the ICT and Entertainment & Media Sectors.” Journal of Industrial Ecology 14.5 (2010): 770-90. Marx, Karl. Capital: Vol. 1: A Critical Analysis of Capitalist Production, 3rd ed. Trans. Samuel Moore and Edward Aveling, Ed. Frederick Engels. New York: International Publishers, 1987. Mattelart, Armand and Costas M. Constantinou. “Communications/Excommunications: An Interview with Armand Mattelart.” Trans. Amandine Bled, Jacques Guot, and Costas Constantinou. Review of International Studies 34.1 (2008): 21-42. Mattelart, Armand. “Cómo nació el mito de Internet.” Trans. Yanina Guthman. El mito internet. Ed. Victor Hugo de la Fuente. Santiago: Editorial aún creemos en los sueños, 2002. 25-32. Maxwell, Richard and Toby Miller. Greening the Media. New York: Oxford University Press, 2012. Nye, David E. American Technological Sublime. Cambridge, Mass.: MIT Press, 1994. Nye, David E. Technology Matters: Questions to Live With. Cambridge, Mass.: MIT Press. 2007. Orwell, George. “As I Please.” Tribune. 12 May 1944. Richtel, Matt. “Consumers Hold on to Products Longer.” New York Times: B1, 26 Feb. 2011. Robinson, Brett H. “E-Waste: An Assessment of Global Production and Environmental Impacts.” Science of the Total Environment 408.2 (2009): 183-91. Rogers, Heather. Gone Tomorrow: The Hidden Life of Garbage. New York: New Press, 2005. Sacks, Harvey. Lectures on Conversation. Vols. I and II. Ed. Gail Jefferson. Malden: Blackwell, 1995. Schiller, Herbert I. Information and the Crisis Economy. Norwood: Ablex Publishing, 1984. Schor, Juliet B. Plenitude: The New Economics of True Wealth. New York: Penguin, 2010. Science and Technology Council of the American Academy of Motion Picture Arts and Sciences. The Digital Dilemma: Strategic Issues in Archiving and Accessing Digital Motion Picture Materials. Los Angeles: Academy Imprints, 2007. Weber, Max. “Remarks on Technology and Culture.” Trans. Beatrix Zumsteg and Thomas M. Kemple. Ed. Thomas M. Kemple. Theory, Culture [i] The global recession that began in 2007 has been the main reason for some declines in Global North energy consumption, slower turnover in gadget upgrades, and longer periods of consumer maintenance of electronic goods (Richtel). [ii] The emergence of the technological sublime has been attributed to the Western triumphs in the post-Second World War period, when technological power supposedly supplanted the power of nature to inspire fear and astonishment (Nye Technology Matters 28). Historian Mario Biagioli explains how the sublime permeates everyday life through technoscience: "If around 1950 the popular imaginary placed science close to the military and away from the home, today’s technoscience frames our everyday life at all levels, down to our notion of the self" (818). [iii] This compulsory repetition is seemingly undertaken each time as a novelty, governed by what German cultural critic Walter Benjamin called, in his awkward but occasionally illuminating prose, "the ever-always-the-same" of "mass-production" cloaked in "a hitherto unheard-of significance" (48).

Introduction This paper highlights the efforts of cultural intermediaries operating social networks for pets, known as petworking. Petworking aligns with the ever-increasing use of social media platforms where “one in ten pet owners have a social media account especially for their pet” (Schroeder). Petworking represents the increased affect of connectivity between pets and their owners within the broader pet community. Although it is true that “no one knows you are a dog on the Internet” (Steiner), it is fair to say that petworking is not the work of the animals directly, but the cultural intermediaries who construct the environment for pets to interact with others. Boo the Pomeranian is one example of a highly networked, cute and celebrity pet, whose antics are broadcast across a plethora of online networks including Facebook, Twitter and Instagram. However, to contradict the rhetoric that cats rule the Internet, it is instead the strategic efforts of cultural intermediaries that take the banal activities of Boo and his “petworked individualism” to his global fan base. The research within this paper, through the lens of animal celebrity, extends recent work undertaken in the celebrity studies field that seeks to understand the connection between celebrities and ‘ordinary folk’, or rather ordinary folk as celebrities. In that regard, the connection between ordinary and celebrity animals is explored through the work of the cultural intermediary who capitalises on the authenticity and cute characteristics of animals. This paper also seeks to understand the role of the petworking cultural intermediary by exploring the cyclic process of disintermediation/remediation/intermediation of Internet communication. Celebrity Studies, Cute Culture and Petworking It is appropriate to first outline the connection of cute with celebrity, and how they relate to petworking. In the first instance, the notion of celebrity is primarily a phenomenon associated with humans. Historically, one of the earliest studies on celebrity focused on the “the person who is known for his well-knownness” (Boorstin 57). Further, celebrity has been noted as a construct by the media industries that has developed “entertainment figures as transmitted via the 20th century mass media” (Feeley 468). Celebrity has a history with the 19th and 20th century literature on the Hollywood star system and its transmission of fame to the mass audiences. As media and cultural studies adopted celebrity as a focus, celebrity studies became fascinated with “how the star image was produced and consumed and how it both shaped and reflected social and cultural identity” (Feeley 470). A more contemporary study into the exploration of celebrity is, as Turner suggests, a demotic turn that sees the media create ‘celebrities’ from ordinary folk. Dyer has argued that one of the core characteristics of celebrity is the ability for one to identify and imitate the star. In each of these examples of celebrity studies, it is assumed that the celebrity is indeed a human being. The humanistic value of celebrity then is problematic when considering how it relates to animals, specifically one’s pet. One way of approaching the study of celebrity and pets is through the lens of animal celebrity. There have been numerous cases of famous animals, with one of the earliest records in Hanno, a famous elephant who was a gift for Pope Leo X on his coronation from King Manuel I of Portugal, 1514. More recent animal celebrity has been demonstrated in cases of Paul the octopus whose celebrity status was reached through his ability to predict the winning teams during the 2010 World Cup, or Dolly the sheep who is infamous as being not only the first cloned sheep but also the first cloned being. Other famous pets are struck by celebrity status for non-favourable acts, for example Tilikum, or Tilly as he is known. TIlly is a bull orca that has been responsible for the deaths of three people during his time in captivity. His story, which also represents his association with celebrity, is documented in the 2013 documentary, Blackfish. Each of these cases of famous animals demonstrates that animal celebrity is not a new issue, but highlights the significance between ‘ordinary’ animals and ‘celebrity’ animals. It could be argued it is the impact of the mass media’s depiction of these animals that defines them as celebrity animals beyond their ordinary counterparts. Yet, in attempting to understand the appeal of animal celebrity, Blewitt notes that pets “wear the badge of authenticity that is held to be so important for credible image-management; there is never any question as to whether or not they are ‘being themselves’” (117). The appeal of animal celebrity for humans is represented through the animal’s authenticity because they are incapable of misrepresenting facts. Often the authentic animal characteristic is combined with ‘cute’ characteristics to increase their appeal, or their relational value with humans, and thereby their popularity. This is certainly the case with giant pandas where they “have the credibility of being an endangered species, look cuddly, have big moony eyes and so have automatic non-human conservation charisma” (Blewitt 326). In this scenario, the giant panda represents the popular qualities of animal cuteness which increases their relational value with humans. McVeigh suggests cute is a symbol of daily aesthetic equaling a “standard attribute” (230) to facilitate high reading of cultural texts and goods. Kinsella argues that cute builds on cutie, which “takes cuteness as its starting point, but on top of the basic ingredient of childlikeness, Cutie style is also chic, eccentric, androgynous and humorous” (Fetishism 229). Cute can shift from pop culture signifiers, to high cultural symbols that represent young, amusing and helpless representations. When cute is in dialogue with celebrity, specifically animal celebrity, it is the cute appeal, or the “silent desperation of the lost puppy dog” (Harris 179) that propels humans to increasingly construct and consume celebrity through animals. Distributing the appeal of cute animal celebrities across digital communication technologies provides the opportunity to explore and understand the petworking phenomenon. The authentic representation of cute animals outlined above has demonstrated the increased relational value of animal celebrity in a non-networked environment. However, when contextualised in a digitally connected environment that engages the affordances of social media platforms, the exploration of petworking can answer some animal celebrity questions raised by Giles. In his taxonomy of animal celebrity, Giles defines four categories that distinguish famous pets: “(a) public figures; (b) the meritocratically famous; (c) show business ‘stars’; and (d) the accidentally famous” (118). He suggests the first two categories are exemplified by the pets of politicians, or the biggest or smallest of a species. However he notes “it is impossible to distinguish between the remaining categories since ‘accidental fame’ presupposes that the other famous animals have engineered their own celebrity to some extent” (ibid.). This is precisely the space that petworking occupies. Pets do not engineer their own celebrity; rather, it is the strategic and coordinated efforts of their owners that create “accidentally famous” animals. The example of petworking demonstrates the role of the intermediary who constructs the identity of the non-ordinary pet with high relational value. A pet with high relational value does not occur serendipitously nor is it the work of a famous animal engineering his or her own celebrity. Rather, it is the work of human intermediaries who strategically utilise authenticity and cute as animal characteristics that increase the animal’s appeal, and thereby its popularity. To successfully engage in petworking, intermediaries use social media platforms to disseminate or broadcast the celebrity animal’s characteristics. The following case study of Boo the Pomeranian demonstrates the connection of celebrity studies with cute culture that is disseminated through social media platforms – a petworking example. The Case of BooThe conceptual framework for this research draws from the media’s coverage of petworking. In that environment, petworking is referenced wherever journalists refer to the practice of “cute” animals engaging in social networking activities. Warr suggests petworking represents “people who want to set up personal social profiles on behalf of their pets”. Ortiz suggests petworking aims to “employ a network marketing strategy for social, political or commercial gain using animals, pets, and goods and services related to animals and pets”. Interestingly, much of the discussion of petworking relates to the act of networking through pets to break the ice with other pet owners to engage in more complex interactions. To move the existing work beyond pets to break the ice, Williams notes that “one in 10 of all UK pets have their own Facebook page, Twitter account or YouTube channel” and “14 per cent of dog owners maintain a Facebook page for their pet, whereas 6 per cent boast Twitter accounts”. Regardless of the motivation of pet owners to engage in petworking, there is an increasing presence of pets in an online environment. Boo the Pomeranian, rose to fame as the world’s cutest dog during 2009. His Facebook page has 10,435,458 likes at the time of writing, making him the most popular dog on Facebook and aligning him with the Public Figure page category, a key celebrity indicator. His tagline reads, “My name is Boo. I am a dog. Life is good.” His connection to popularity came on 26 October 2010, when celebrity blogger Khloé Kardashian wrote “OMG, I just found this dog named Boo on facebook and I am seriously in LOVE […] If you are in facebook, go like this page because it’s beyond cute!” Boo’s popularity gained momentum across the Internet and since then he has featured on television shows, has produced a line of plush toys and has a book for sale on Amazon, “Boo: The life of the World’s Cutest Dog”. This example of Kardashian’s public call to action is a clear celebrity endorsement which trades on both cute and celebrity. Boo’s rise to fame also aligns with Giles’ fourth category of animal celebrity, accidentally famous. If it were not for Khloé Kardashian’s celebrity endorsement, the distinction between Boo as an ordinary pet and a celebrity pet would be very clear. Boo’s rise to a celebrity status is a clear example of how a human intermediary can create and develop a high relational value of a pet through the endorsement of cute. The connection between cute and popularity also suggests cute creates strong Internet connections between individuals with a compulsion to belong to the larger fan group. Although Boo’s owner remains anonymous under the moniker of J.H. Lee, it would appear the motivation behind Boo, although started as a joke Facebook page (Lee), is to commodify the pet. The popularity of Boo’s cuteness has bolstered the dog as a cultural product with production of countless novelty items, indicative of the creative vernacular of the pet’s owner. In this example, the soft power that accompanies Boo is persuasive and invisible. Soft power in this context is a “concept of strategic narrative […] especially in regard to how influence works in a new media environment” (Roselle et al. 70). In the context of globalisation, Boo is the ideal transnational cultural icon that embodies an ideology, disseminated through the instrument of cute. When cute is used as an ideological construct, it is rarely the object that generates soft power but rather the intermediary constructing the cultural artefact. The following section explores the cultural intermediary as the individual responsible for the mediation of ideology through cultural production and consumption. The cultural intermediary determines how cute shapes and redefines social and cultural identity. Petworking as Cultural Intermediation Much of the existing literature on cute culture has focussed on the impact of cute upon culture, negating the process of their cultural construction. Their construction is, like other creative discourses, the result of mediation by multiple roles between the production and consumption of cultural artefacts. The cultural intermediary plays a crucial role in aligning the construction of meaning that aligns the perspectives of both cultural artefact producers and consumers. For example, cute is constructed by designers and stylists, whereas celebrity is the work of the public relations agent. Cultural intermediation was first used by Pierre Bourdieu as a way of describing the individual who mediates between and connects different cultural fields. Negus reappropriated the idea by contextualising the cultural intermediary within the creative industries as a means of bridging the gap between cultural production and consumption. Negus focuses on roles such as accountants, A&R agents and senior executives within the creative industries, and concluded that instead of bridging the gap, these roles increase the distance between production and consumption. Disintermediation – a process that involves a direct connection between producer and consumer, or artist and audience – would be more appropriate. I have previously argued for a combined producer/consumer production model (Hutchinson) that is facilitated by cultural intermediation within the context of media institutions. The cultural intermediary plays a crucial role in aligning the perspective of the contributing authors with the regulatory frameworks of the hosting institutions. Cultural intermediaries may be community managers, program producers, legal teams, or archivists that interface between the contributors and the institutional regulatory framework. For example, an artist might contribute work to a participatory project with little understanding of the regulatory constraints of the project. It is the role of the cultural intermediary to ensure the work maintains its creative and thematic aspiration while aligning with the governing rules of the institution. To turn cultural intermediation to the practice of petworking, there are two distinct stakeholders: the pets and pet fans. Within petworking, the cultural intermediary is responsible for understanding the interests of pet fans and an understanding of how to represent pets to align with those interests: a process Blewitt described as increasing high relational value. As described earlier, cute is a powerful instrument to promote the popularity of pets and increase their prominence across online spaces. It is therefore not the cuteness of the pets that determine their popularity and virality, but rather the strategic efforts of the cultural intermediary who engages in cute as a useful communication tool. Boo is a clear example of how cultural intermediaries engage in cute as an apparatus to increase the high relational value of animals for their human counterparts. It is not necessarily the animal themselves as they are not, as Giles suggests, within the first two categories of public figures or the meritocratically famous. They are ordinary pets that have been aligned with the authentic and cute characteristics of animal celebrity by their cultural intermediaries which increases their relational value, thereby creating celebrity pets. In this example, Boo the Pomeranian demonstrates how a cultural icon has been created, or mediated, by his owner, the cultural intermediary, by embracing authentic and cute characteristics and distributing the cultural artefact across social media platforms. In these instances, the agency of the cultural intermediary becomes increasingly important. Conclusion If constructed correctly, cute can be used as a powerful instrument to create a cultural artefact. This paper has highlighted the similarities between animal celebrity and cute culture through authenticity and popularity, or “knownness”, of animals. The cute/celebrity framework aligns with petworking to highlight how cute pets are created, mediated and distributed across social media platforms. In this context, it is the role of the cultural intermediary to mediate these celebrity animals by identifying the stakeholder groups associated with petworking, understanding their interests and producing cultural artefacts that address those interests. In the case study of Boo the Pomeranian, it has been demonstrated that the authenticity and cute characteristics are directly connected to popularity. In this situation, the role of the cultural intermediary is to promote those characteristics for the stakeholder groups interested in the cultural artefact, to increase its popularity. The role of the cultural intermediary also demonstrates the significance of intermediation within the production and distribution of cultural goods. Acknowledgements Andrew Whelan, Grace O’Neil, Mikaela Griffith, Elizabeth Arnold, Greta Mayr. 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Schroeder, Stan. “1 in 10 Pets Have a Social Networking Profile.” Mashable 13 July 2011. 29 Apr. 2014 ‹http://mashable.com/2011/07/13/pets-social-networking›. Steiner, Peter. “On the Internet, Nobody Knows You're a Dog.” Cartoon. The New Yorker, 5 July 1993. Turner, Graeme. “Surrendering the Space.” Cultural Studies 25.4-5 (2011): 685-99. Warr, Philippa. “My Social Petwork: Facebook for Your Pets.” Wired.co.uk 12 Apr. 2013. 29 Apr. 2014 ‹http://www.wired.co.uk/news/archive/2013-04/12/my-social-petwork›. Williams, Rhiannon. “Dogs Dominate Social 'Petworking'.” The Telegraph 15 Feb. 2014.

Discussions of the economic theory of planned obsolescence—the purposeful embedding of redundancy into the functionality or other aspect of a product—in the 1980s and 1990s often focused on the impact of such a design strategy on manufacturers, consumers, the market, and, ultimately, profits (see, for example, Bulow; Lee and Lee; Waldman). More recently, assessments of such shortened product life cycles have included calculations of the environmental and other costs of such waste (Claudio; Kondoh; Unruh). Commonly utilised examples are consumer products such as cars, whitegoods and small appliances, fashion clothing and accessories, and, more recently, new technologies and their constituent components. This discourse has been adopted by those who configure workers as human resources, and who speak both of skills (Janßen and Backes-Gellner) and human capital itself (Chauhan and Chauhan) being made obsolete by market forces in both predictable and unplanned ways. This includes debate over whether formal education can assist in developing the skills that make their possessors less liable to become obsolete in the workforce (Dubin; Holtmann; Borghans and de Grip; Gould, Moav and Weinberg). However, aside from periodic expressions of disciplinary angst (as in questions such as whether the Liberal Arts and other disciplines are becoming obsolete) are rarely found in discussions regarding higher education. Yet, higher education has been subsumed into a culture of commercial service provision as driven by markets and profit as the industries that design and deliver consumer goods. McKelvey and Holmén characterise this as a shift “from social institution to knowledge business” in the subtitle of their 2009 volume on European universities, and the recent decade has seen many higher educational institutions openly striving to be entrepreneurial. Despite some debate over the functioning of market or market-like mechanisms in higher education (see, for instance, Texeira et al), the corporatisation of higher education has led inevitably to market segmentation in the products the sector delivers. Such market segmentation results in what are called over-differentiated products, seemingly endless variations in the same product to attempt to increase consumption and attendant sales. Milk is a commonly cited example, with supermarkets today stocking full cream, semi-skimmed, skimmed, lactose-free, soy, rice, goat, GM-free and ‘smart’ (enriched with various vitamins, minerals and proteins) varieties; and many of these available in fresh, UHT, dehydrated and/or organic versions. In the education market, this practice has resulted in a large number of often minutely differentiated, but differently named, degrees and other programs. Where there were once a small number of undergraduate degrees with discipline variety within them (including the Bachelor of Arts and Bachelor of Science awards), students can now graduate with a named qualification in a myriad of discipline and professional areas. The attempt to secure a larger percentage of the potential client pool (who are themselves often seeking to update their own skills and knowledges to avoid workforce obsolescence) has also resulted in a significant increase in the number of postgraduate coursework certificates, diplomas and other qualifications across the sector. The Masters degree has fractured from a research program into a range of coursework, coursework plus research, and research only programs. Such proliferation has also affected one of the foundations of the quality and integrity of the higher education system, and one of the last bastions of conventional practice, the doctoral degree. The PhD as ‘Gold-Standard’ Market Leader? The Doctor of Philosophy (PhD) is usually understood as a largely independent discipline-based research project that results in a substantial piece of reporting, the thesis, that makes a “substantial original contribution to knowledge in the form of new knowledge or significant and original adaptation, application and interpretation of existing knowledge” (AQF). As the highest level of degree conferred by most universities, the PhD is commonly understood as indicating the height of formal educational attainment, and has, until relatively recently, been above reproach and alteration. Yet, whereas universities internationally once offered a single doctorate named the PhD, many now offer a number of doctoral level degrees. In Australia, for example, candidates can also complete PhDs by Publication and by Project, as well as practice-led doctorates in, and named Doctorates of/in, Creative Arts, Creative Industries, Laws, Performance and other ‘new’ discipline areas. The Professional Doctorate, introduced into Australia in the early 1990s, has achieved such longevity that it now has it’s own “first generation” incarnations in (and about) disciplines such as Education, Business, Psychology and Journalism, as well as a contemporary “second generation” version which features professionally-practice-led Mode 2 knowledge production (Maxwell; also discussed in Lee, Brennan and Green 281). The uniquely Australian PhD by Project in the disciplines of architecture, design, business, engineering and education also includes coursework, and is practice and particularly workplace (or community) focused, but unlike the above, does not have to include a research element—although this is not precluded (Usher). A significant number of Australian universities also currently offer a PhD by Publication, known also as the PhD by Published Papers and PhD by Published Works. Introduced in the 1960s in the UK, the PhD by Publication there is today almost exclusively undertaken by academic staff at their own institutions, and usually consists of published work(s), a critical appraisal of that work within the research context, and an oral examination. The named degree is rare in the USA, although the practice of granting PhDs on the basis of prior publications is not unknown. In Australia, an examination of a number of universities that offer the degree reveals no consistency in terms of the framing policies except for the generic Australian Qualifications Framework accreditation statement (AQF), entry requirements and conditions of candidature, or resulting form and examination guidelines. Some Australian universities, for instance, require all externally peer-refereed publications, while others will count works that are self-published. Some require actual publications or works in press, but others count works that are still at submission stage. The UK PhD by Publication shows similar variation, with no consensus on purpose, length or format of this degree (Draper). Across Australia and the UK, some institutions accept previously published work and require little or no campus participation, while others have a significant minimum enrolment period and count only work generated during candidature (see Brien for more detail). Despite the plethora of named degrees at doctoral level, many academics continue to support the PhD’s claim to rigor and intellectual attainment. Most often, however, these arguments cite tradition rather than any real assessment of quality. The archaic trappings of conferral—the caps, gowns and various other instruments of distinction—emphasise a narrative in which it is often noted that doctorates were first conferred by the University of Paris in the 12th century and then elsewhere in medieval Europe. However, challenges to this account note that today’s largely independently researched thesis is a relatively recent arrival to educational history, being only introduced into Germany in the early nineteenth century (Bourner, Bowden and Laing; Park 4), the USA in a modified form in the mid-nineteenth century and the UK in 1917 (Jolley 227). The Australian PhD is even more recent, with the first only awarded in 1948 and still relatively rare until the 1970s (Nelson 3; Valadkhani and Ville). Additionally, PhDs in the USA, Canada and Denmark today almost always incorporate a significant taught coursework element (Noble). This is unlike the ‘traditional’ PhD in the UK and Australia, although the UK also currently offers a number of what are known there as ‘taught doctorates’. Somewhat confusingly, while these do incorporate coursework, they still include a significant research component (UKCGE). However, the UK is also adopting what has been identified as an American-inflected model which consists mostly, or largely, of coursework, and which is becoming known as the ‘New Route British PhD’ (Jolley 228). It could be posited that, within such a competitive market environment, which appears to be driven by both a drive for novelty and a desire to meet consumer demand, obsolescence therefore, and necessarily, threatens the very existence of the ‘traditional’ PhD. This obsolescence could be seen as especially likely as, alongside the existence of the above mentioned ‘new’ degrees, the ‘traditional’ research-based PhD at some universities in Australia and the UK in particular is, itself, also in the process of becoming ‘professionalised’, with some (still traditionally-framed) programs nevertheless incorporating workplace-oriented frameworks and/or experiences (Jolley 229; Kroll and Brien) to meet professionally-focused objectives that it is acknowledged cannot be met by producing a research thesis alone. While this emphasis can be seen as operating at the expense of specific disciplinary knowledge (Pole 107; Ball; Laing and Brabazon 265), and criticised for that, this workplace focus has arisen, internationally, as an institutional response to requests from both governments and industry for training in generic skills in university programs at all levels (Manathunga and Wissler). At the same time, the acknowledged unpredictability of the future workplace is driving a cognate move from discipline specific knowledge to what have been described as “problem solving and knowledge management approaches” across all disciplines (Gilbert; Valadkhani and Ville 2). While few query a link between university-level learning and the needs of the workplace, or the motivating belief that the overarching role of higher education is the provision of professional training for its client-students (see Laing and Brabazon for an exception), it also should be noted that a lack of relevance is one of the contributors to dysfunction, and thence to obsolescence. The PhD as Dysfunctional Degree? Perhaps, however, it is not competition that threatens the traditional PhD but, rather, its own design flaws. A report in The New York Times in 2007 alerted readers to what many supervisors, candidates, and researchers internationally have recognised for some time: that the PhD may be dysfunctional (Berger). In Australia and elsewhere, attention has focused on the uneven quality of doctoral-level degrees across institutions, especially in relation to their content, rigor, entry and assessment standards, and this has not precluded questions regarding the PhD (AVCC; Carey, Webb, Brien; Neumann; Jolley; McWilliam et al., "Silly"). It should be noted that this important examination of standards has, however, been accompanied by an increase in the awarding of Honorary Doctorates. This practice ranges from the most reputable universities’ recognising individuals’ significant contributions to knowledge, culture and/or society, to wholly disreputable institutions offering such qualifications in return for payment (Starrs). While generally contested in terms of their status, Honorary Doctorates granted to sports, show business and political figures are the most controversial and include an award conferred on puppet Kermit the Frog in 1996 (Jeffries), and some leading institutions including MIT, Cornell University and the London School of Economics and Political Science are distinctive in not awarding Honorary Doctorates. However, while distracting, the Honorary Doctorate itself does not answer all the questions regarding the quality of doctoral programs in general, or the Doctor of Philosophy in particular. The PhD also has high attrition rates: 50 per cent or more across Australia, the USA and Canada (Halse 322; Lovitts and Nelson). For those who remain in the programs, lengthy completion times (known internationally as ‘time-to-degree’) are common in many countries, with averages of 10.5 years to completion in Canada, and from 8.2 to more than 13 years (depending on discipline) in the USA (Berger). The current government performance-based funding model for Australian research higher degrees focuses attention on timely completion, and there is no doubt that, under this system—where universities only receive funding for a minimum period of candidature when those candidates have completed their degrees—more candidates are completing within the required time periods (Cuthbert). Yet, such a focus has distracted from assessment of the quality and outcomes of such programs of study. A detailed survey, based on the theses lodged in Australian libraries, has estimated that at least 51,000 PhD theses were completed in Australia to 2003 (Evans et al. 7). However, little attention has been paid to the consequences of this work, that is, the effects that the generation of these theses has had on either candidates or the nation. There has been no assessment, for instance, of the impact on candidates of undertaking and completing a doctorate on such facets of their lives as their employment opportunities, professional choices and salary levels, nor any effect on their personal happiness or levels of creativity. Nor has there been any real evaluation of the effect of these degrees on GDP, rates of the commercialisation of research, the generation of intellectual property, meeting national agendas in areas such as innovation, productivity or creativity, and/or the quality of the Australian creative and performing arts. Government-funded and other Australian studies have, however, noted for at least a decade both that the high numbers of graduates are mismatched to a lack of market demand for doctoral qualifications outside of academia (Kemp), and that an oversupply of doctorally qualified job seekers is driving wages down in some sectors (Jones 26). Even academia is demanding more than a PhD. Within the USA, doctoral graduates of some disciplines (English is an often-cited example) are undertaking second PhDs in their quest to secure an academic position. In Australia, entry-level academic positions increasingly require a scholarly publishing history alongside a doctoral-level qualification and, in common with other quantitative exercises in the UK and in New Zealand, the current Excellence in Research for Australia research evaluation exercise values scholarly publications more than higher degree qualifications. Concluding Remarks: The PhD as Obsolete or Retro-Chic? Disciplines and fields are reacting to this situation in various ways, but the trend appears to be towards increased market segmentation. Despite these charges of PhD dysfunction, there are also dangers in the over-differentiation of higher degrees as a practice. If universities do not adequately resource the professional development and other support for supervisors and all those involved in the delivery of all these degrees, those institutions may find that they have spread the existing skills, knowledge and other institutional assets too thinly to sustain some or even any of these degrees. This could lead to the diminishing quality (and an attendant diminishing perception of the value) of all the higher degrees available in those institutions as well as the reputation of the hosting country’s entire higher education system. As works in progress, the various ‘new’ doctoral degrees can also promote a sense of working on unstable ground for both candidates and supervisors (McWilliam et al., Research Training), and higher degree examiners will necessarily be unfamiliar with expected standards. Candidates are attempting to discern the advantages and disadvantages of each form in order to choose the degree that they believe is right for them (see, for example, Robins and Kanowski), but such assessment is difficult without the benefit of hindsight. Furthermore, not every form may fit the unpredictable future aspirations of candidates or the volatile future needs of the workplace. The rate with which everything once new descends from stylish popularity through stages of unfashionableness to become outdated and, eventually, discarded is increasing. This escalation may result in the discipline-based research PhD becoming seen as archaic and, eventually, obsolete. Perhaps, alternatively, it will lead to newer and more fashionable forms of doctoral study being discarded instead. Laing and Brabazon go further to find that all doctoral level study’s inability to “contribute in a measurable and quantifiable way to social, economic or political change” problematises the very existence of all these degrees (265). Yet, we all know that some objects, styles, practices and technologies that become obsolete are later recovered and reassessed as once again interesting. They rise once again to be judged as fashionable and valuable. Perhaps even if made obsolete, this will be the fate of the PhD or other doctoral degrees?References Australian Qualifications Framework (AQF). “Doctoral Degree”. AQF Qualifications. 4 May 2009 ‹http://www.aqf.edu.au/doctor.htm›. Australian Vice-Chancellors’ Committee (AVCC). Universities and Their Students: Principles for the Provision of Education by Australian Universities. Canberra: AVCC, 2002. 4 May 2009 ‹http://www.universitiesaustralia.edu.au/documents/publications/Principles_final_Dec02.pdf›. 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