Search results

Purpose – To extend our understanding of consumers’ relationships with their growing collections of digital virtual goods by exploring adult videogamers’ attachments to their digital virtual possessions within videogames.

Methodology – Phenomenological interviews with 35 adult videogamers, primarily conducted in participants’ homes and lasting on average two hours.

Findings – Our participants were able to possess and form emotional attachments to ‘irreplaceable’ digital virtual goods within videogames despite the goods’ immaterial nature and their own lack of legal ownership. The processes via which these attachments developed mirror our existing understanding of material possession attachment; however, technical and legal restrictions were found to hinder attachment formation. Our participants also expressed concerns, rooted not in the immateriality of the goods, but in their lack of control over the safety of their digital virtual possessions and societal perceptions surrounding such emotional involvement in ‘childish’ videogame play.

Originality/value – This study illustrates that consumers desire to, and find ways to, form meaningful attachments to possessions, regardless of their materiality, whilst highlighting the tension between the desire to possess and make meaning from digital virtual goods and recognition of their lack of legal ownership and control, and the goods’ status as frivolous.

Research implications – We see potential for future research to look beyond the immaterial nature of digital virtual goods to study the complex networks of forces influencing digital virtual consumption, whilst the ambiguous ownership of in-game possessions presents possibilities for further research into the problematic nature of possessing, but not owning, such goods.

Social television (Social TV) viewing of live sports events is an emerging trend. The realm of transformative service research (TSR) envisions that every service consumption experience must lead to consumer well-being. Currently, a full appreciation of the well-being factors obtained through Social TV viewing is lacking. This study aims to gain a holistic understanding of the concept of digital sports well-being obtained through live Social TV viewing of sports events.

Focus group interviews were used to collect data from the 40 regular sports viewers, and the qualitative data obtained is analyzed thematically using NVivo 12. A post hoc verification of the identified themes is done to narrow down the most critical themes.

The exploration helped understand the concept of digital sports well-being (DSW) obtained through live Social TV sports spectating and identified five critical themes that constitute its formation. The themes that emerged were virtual connectedness, vividness, uncertainty reduction, online disinhibition and perceived autonomy. This study defines the concept and develops a conceptual model for DSW.

This study adds to the body of knowledge in TSR, transformative sport service research, digital customer engagement, value co-creation in digital platforms, self-determination theory and flow theory. The qualitative study is exploratory, with participants’ views based on a single match in one particular sport, and as such, its findings are restrained by the small sample size and the specific sport. To extend this study’s implications, empirical research involving a larger and more diversified sample involving multiple sports Social TV viewing experiences would help better understand the DSW concept.

The research provides insights to Social TV live streamers of sporting events and digital media marketers about the DSW construct and identifies the valued DSW dimensions that could provide a competitive advantage.

To the best of the authors’ knowledge, the exploration is the first attempt to describe the concept of DSW and identify associated themes.

The purpose of this paper is to address the question of cultural production, consumption and intermediation in the context of digital music.

This research adopts an interpretivist, ethnoconsumerist epistemology along with a netnographic research design combined with hermeneutic analysis. Interpreting both the text view and field view of an ethnoconsumerist approach, the netnographic research design includes participant observation across multiple social media platforms as well as virtual interviews and analysis of media material. The context of application is a digital music subculture known as Vaporwave. Vaporwave participants deliberately distort fundamental aspects of modern and postmodern culture in a digital, musical, artistic and storied manner.

Hermeneutic analysis has identified a critical and nostalgic narrative of consumerism and hyper-reality, evident as symbolic parallels, intertextual relationships, existential themes and cultural codes. As a techno savvy community embracing lo-fi production, self-releasing promotion and anonymity from within a complexity of aliases and myriad collaborations, the vaporous existentialism of Vaporwave participants skirts copyright liability in the process. Accordingly, Vaporwave is documented as blurring reality and fantasy, material and symbolic, production and consumption. Essentially, Vaporwave participants are shown to be digital natives turned digital rebels and heretical consumers, better described as cultural curators.

This research demonstrates a more complex notion of cultural production, consumption and intermediation, argued to be more accurately described as cultural curation.

As digital heretics, Vaporwave participants challenge traditional notions of modernity, such as copyright law, and postmodern notions such as working consumers and consuming producers.

Vaporwave participants present a case of digital natives turned digital rebels and consumer heretics, who are actively curating culture.

This interpretive ethnoconusmerist study combining netnography and hermeneutic analysis of an online underground music subculture known as Vaporwave shows digital music artists as cultural curators.

While the spatial dimensions of augmented reality (AR) have received significant attention in the marketing literature, to date, there has been less consideration of its temporal dimensions. This paper aims to theorise digital timework through AR to understand a new form of consumption experience that offers short-lived, immersive forms of mundane, marketer-led escape from everyday life.

The authors draw upon Casey’s phenomenological work to explore the emergence of new dynamics of temporalisation through digitised play. An illustrative case study using AR shows how consumers use this temporalisation to find stability and comfort through projecting backwards (remembering) and forwards (imagining) in their lives.

The proliferation of novel digital technologies and platforms has radically transformed consumption experiences as the boundaries between the physical and the virtual, fantasy and reality and play and work have become increasingly blurred. The findings show how temporary escape is carved out within digital space and time, where controlled imaginings provide consumers with an illusion of control over their lives as they re-establish cohesion in a ruptured sense of time.

The authors consider the more critical implications of the offloading capacity of AR, which they show does not prevent cognitive processes such as imagination and remembering but rather puts limits on them. The authors show that these more short-lived, everyday types of digitised escape do not allow for an escape from the structures of everyday life within the market, as much of the previous literature suggests.

The authors argue that corporations need to reflect upon the potential threats of immersive technologies such as AR in harming consumer escapism and take these into serious consideration as part of their strategic experiential design strategies to avoid leading to detrimental effects upon consumer well-being. More nuanced conceptualisations are required to unpack the antecedents of limiting people’s imagination and potentially limiting the fully fledged escape that consumers might desire.

Prior work has conceptualised AR as offloading the need for imagination by making the absent present. The authors critically unpack the implications of this for a more fluid understanding of the temporal logics and limits of consumer escapism.

Social media bring about the imagery of people, places and products. Showing particular success in attracting women and millennials, these media (e.g. Instagram, Snapchat and Pinterest) are built around imagery consumption. This paper follows a qualitative theory building approach to extend the theory of consumption values and develop a framework based on the values social media deliver to consumers that explain their use outcomes.

The framework was analytically developed based on a review of the literature. In contrast to frameworks such as stimulus-organism-response (S-O-R), the framework proposes that people consume social media to maximize relevant values, namely, the aesthetic, social and learning value. Then, a study based on semi-structured interviews is performed to elaborate on the values and their undertakings.

The paper defines the consumption’s aesthetic value and underscores it as a focal driver of social media use and a key concept in social commerce. Data analysis suggests that aesthetic value engenders such responses as consumer’s inspiration, infinity sensation and habitual entertainment. Additional drivers of social media users are social and learning values. The social value engenders self-expression and social privacy, whereas the learning value engenders resourcefulness and parallel shopping.

This paper stipulates that people consume (i.e. use) social media to maximize relevant values, which, in turn, result in two groups of responses (inner and outer responses). The framework indicates that the relevant values mediate the relation between a stimulus (e.g. social media use) and response (e.g. entertainment, inspiration and behavioral intent). It highlights the centrality of aesthetic value in digital marketing and social commerce environments. The framework, thus, contrary to S-O-R, views the consumer as a maximizer of values rather than (a) processor of emotional and cognitive rejoinders.

This paper examines what the use of an augmented reality (AR) makeup mirror means to consumers, focusing on experiential consumption and the extended self.

The authors employed a multimethod approach involving netnography and semi-structured interviews with participants in India and the UK (n = 30).

Two main themes emerged from the data: (1) the importance of imagination and fantasy and (2) the (in)authenticity of the self and the surrounding “reality.”

This research focuses on AR magic makeup mirror. The authors call for further research on different AR contexts.

The authors provide service managers with insights on addressing gaps between the perceived service (i.e. AR contexts and the makeup consumption journey) and the conceived service (i.e. fantasies and the extended self).

The authors examine the lived fantasy experiences of AR experiential consumption. In addition, the authors reveal a novel understanding of the extended self as temporarily re-envisioned through the AR mirror.

The purpose of this paper is to interrogate the concept of meaning and the meaning making process in consumer behavior. While the study of the consumption focuses increasingly on how consumers create meaning in a marketing dominated world, it views this process as relatively unproblematic. This paper challenges that perspective and argues that this process is inherently ambiguous.

This paper is primarily conceptual in nature. It utilizes a post-structural perspective to theoretically examine the concept of meaning and the meaning making process. It then applies this analysis to the consumption and production of popular culture. Three exemplars from the domain of digital fandom are provided to explore the conceptual arguments in the paper.

The paper argues that if the meanings of all texts are fundamentally unstable and that meaning itself is endlessly deferred in the meaning making process, then as the consumer becomes the author of the text, the instability and ambiguity of meaning and the meaning making process transfers equally to the consumption process. Rather than view this as a negative aspect of consumer culture, this paper argues that some consumers relish this ambiguity and the freedom that it gives them to manipulate these products, their textual meanings, and the readers’ identities.

The primary limitation of this paper is that it is conceptual in nature. Future research should empirically examine different cases of meaningless consumption to provide more evidence of this interesting and potentially pervasive aspect of consumer behavior.

There is virtually no research that examines meaningless consumption. The value of the paper is that it challenges a core concept in cultural theories of consumer behavior and extends our understanding of consumption.

This paper aims to understand how structural characteristics of social media enable consumers to satisfy needs related to marketer-generated content (MGC) and identify the consequences of consumer exposure to MGC.

This paper revisits research on antecedents and consequences of advertising consumption to build an emergent conceptual model applied to MGC through the investigation of consumer experiences in social media. Thirty-three semi-structured interviews were conducted with consumers who follow brands on Instagram. The interview transcripts were coded and analysed using a grounded theory approach.

This study finds that, structurally, MGC consumption is characterised by the combination of: consumer micro-control over both content and timing/place of consumption and ease of consumption, enabling consumers to seek pleasure and utility without effort. The data show that MGC is only likely to be shared to a restricted group with strong social connections, such as family members and close friends with similar interests, with whom new interactions develop over brands and products, online or in person. MGC consumption experiences also generate significant consumer learning that improves purchase outcomes for consumers. Three types of MGC consumers were identified in the data: “enthusiasts”, “circumstantial” and “occasional”.

This study updates previous literature, offering a conceptual framework that specifies how the structural characteristics of social media are conducive to consumer exposure to self-curated MGC flows. This research also uncovers unique social dynamics and consumer learning related to MGC consumption.

Insights from this study suggest alternative business models that may be attractive for consumers, brands and social media platforms. This research also suggests ways in which brands can improve consumer MGC experiences.

This research demonstrates how and why consumers embrace MGC at scale through social media and reveals consequences of MGC consumption.

The paper aims to offer an approach that allows an analysis and construction of a typology of virtual city brand co-creation practices.

The approach is illustrated by using data collected in regard to the branding of Stockholm; it is based on visual representations expressing the process in which brand co-creation unfolds in a network of different affective modalities.

Virtual representations emerge as expressive trans-locations that obtain communicative qualities in which practices are included and also in which practices are constituted. Practices represent how experiencing is carried out by different stakeholders’ relationships and emotional interactions. They are labeled as contributing, using, esteeming and opposing. These practices constitute analytical abstraction that represent different power plays between the visual and material content of the images, the technologies of production and the display and performance of the virtual.

The focus on practices suggests a way to perform a critical analysis that could be used to research the performative process of co-creating brands in a way that the practices offer signals that can be used to grasp the dynamism of the process. Further, it suggests that the analysis of the practices in the virtual realm has the potential to unfold the material, nonlinear dynamic of communication that resides beyond forms of meaning and cognition.

The offered approach posits an alternative view of co-creation in which the process is uncontrollable by any stakeholders involved; the process might therefore not have a start and end or it could start everywhere in the internet and can transform at any point in space-time.

It contributes to the research on performative place branding by problematizing the issue of agency. It does so by displaying the way in which the process of virtual city brand co-creation could be analyzed based on practices involving the co-construction of visualization and materialization. Analytically, by dealing with virtual representations where practices of brand co-creation unfold, such an approach also helps to unpack the consequences of those practices and can highlight the technologies that are used and the specific qualities of the visual objects enacted.

Chronic consumption practice has been greatly accelerated by mobile, interactive and smartphone gaming technology devices. The purpose of this paper is to explore how chronic consumption of smartphone gaming produces positive coping practice.

Underpinned by cognitive framing theory, empirical insights from 11 focus groups (n=62) reveal how smartphone gaming enhances positive coping amongst gamers and non-gamers.

The findings reveal how the chronic consumption of games allows technology to act with privileged agency that resolves tensions between individuals and collectives. Consumption narratives of smartphone games, even when play is limited, lead to the identification of three cognitive frames through which positive coping processes operate: the market-generated, social being and citizen frames.

This paper adds to previous research by providing an understanding of positive coping practice in the smartphone chronic gaming consumption.

In smartphone chronic gaming consumption, cognitive frames enable positive coping by fostering appraisal capacities in which individuals confront hegemony, culture and alterity-morality concerns.