Fashion and art cycles are driven by counter-dominance signals of elite competition: quantitative evidence from music styles

Human symbol systems such as art and fashion styles emerge from complex social processes that govern the continuous re-organization of modern societies. They provide a signalling scheme that allows members of an elite to distinguish themselves from the rest of society. Efforts to understand the dynamics of art and fashion cycles have been placed on 'bottom-up' and 'top-down' theories. According to 'top-down' theories, elite members signal their superior status by introducing new symbols (e.g. fashion styles), which are adopted by low-status groups. In response to this adoption, elite members would need to introduce new symbols to signal their status. According to many 'bottom-up' theories, style cycles evolve from lower classes and follow an essentially random pattern. We propose an alternative explanation based on counter-dominance signalling (CDS). In CDS, elite members want others to imitate their symbols; changes only occur when outsider groups successfully challenge the elite by introducing signals that contrast those endorsed by the elite. We investigate these mechanisms using a dynamic network approach on data containing almost 8 million music albums released between 1956 and 2015. The network systematically quantifies artistic similarities of competing musical styles and their changes over time. We formulate empirical tests for whether new symbols are introduced by current elite members (top-down), randomness (bottom-up) or by peripheral groups through counter-dominance signals. We find clear evidence that CDS drives changes in musical styles. This provides a quantitative, completely data-driven answer to a century-old debate about the nature of the underlying social dynamics of fashion cycles

The mind in the object—Psychological valuation of materialized human expression

Symbolic material objects such as art or certain artifacts (e.g., fine pottery, jewelry) share one common element: The combination of generating an expression, and the materialization of this expression in the object. This explains why people place a much greater value on handmade over machine-made objects, and originals over duplicates. We show that this mechanism occurs when a material object’s symbolic property is salient and when the creator (artist or craftsman) is perceived to have agency control over the 1-to-1 materialized expression in the object. Coactivation of these 2 factors causes the object to be perceived as having high value because it is seen as the embodied representation of the creator’s unique personal expression. In 6 experiments, subjects rated objects in various object categories, which varied on the type of object property (symbolic, functional, aesthetic), the production procedure (handmade, machine-made, analog, digital) and the origin of the symbolic information (person or software). The studies showed that the proposed mechanism applies to symbolic, but not to functional or aesthetic material objects. Furthermore, they show that this specific form of symbolic object valuation could not be explained by various other related psychological theories (e.g., uniqueness, scarcity, physical touching, creative performance). Our research provides a universal framework that identifies a core mechanism for explaining judgments of value for one of our most uniquely human symbolic object categories

PVC-LOT-004-D-137

This article discusses the role of embodiment in judgment and choice to (a) attain clarity on conceptual and methodological issues by presenting a literature review of prior empirical research on embodiment, (b) gain an integrative view on the topic of embodiment in judgment and choice by proposing somatic marker theory as a unifying conceptual framework for bridging cognition and affect in terms of embodiment, and (c) discuss and clarify ideas and directions for further research on the topic

Design and Brand: The Influence of Product Form on the Formation of Brands

Although the strategic importance of design for creating strong brands has been known for some time, studies on marketing have neglected to investigate the relationship between design and brand. On the basis of sign- and cognitive-scientific theories, Robert Kreuzbauer develops an approach to explain the influence of design on brand perception and the storage of brand knowledge. He integrates the latest theories on form perception and cognitive knowledge representation and shows how salient product form attributes (brand identifiers) shape the entire brand. The author also presents a detailed discussion of diverse methods for identifying salient brand design attributes