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On the Impossibility of Sustainable Development without Culture The Gaze of Art and Perspectives on a Cultural Approach to Marketing

June 2010

Guillaume Logé Patronage and Philanthropy Manager, musée d’Orsay

Lisa Peñaloza Professor of Marketing, Director InteraCT Research Centre, EDHEC Business School

Guergana Guintcheva Professor of Marketing, with the support of Member of InteraCT Research Centre, EDHEC Business School Abstract

Why assert that culture is intrinsic and Research in marketing has drawn on absolutely necessary to sustainable culture for guidance. Is it not possible for development? Why examine art and why art and culture to endow the markets with choose to forge ties with marketing? meaning, and for all economic activity, Why should companies, institutions, and the production of goods, social ties, the policies include a cultural dimension in their protection of the environment, and the strategies for sustainable development? center of our daily lives? We have shown How can marketing help integrate this that, through history, culture and art have dimension? met this challenge. We have shown that the markets can integrate this efficacy to We seek to put our work in perspective with become truly sustainable markets. the wealth of collections in museums, the wealth of artistic production, regardless Without culture it is not possible to of their origin. We also seek to study the develop markets that are truly sustainable. dialogue between art and consumption. Let us apply the same truth to marketing, for another view of consumption and of We provide a brief overview of sustainable markets for the creation not of a new development. Culture emerges as an utopia but of a sustainable reality. issue, most often—and insufficiently— only as cultural diversity. What do the terms “sustainable” and “development” mean? What do they contain? What do they demand? What do they need to be responsibly enacted?

Art and culture create meaning, as do the markets and consumption. People draw on them for their identities. Is it really possible to make cultural dimensions part of consumption and the markets? Is the notion that we propose—the poetic efficacy of art—able to provide guidance? Is it possible to extend this notion to marketing and to an efficacy (poetic efficacy) of consumption that stems from the poetic efficacy of art?

For their invaluable aid, the authors wish to thank Sigrid Berger, Gaël Bonnin, Ginevra Boralevi, Françoise Brousse, Mylène Charon, Pauline Daniez, Caroline Mathieu, Dominique Nguyen, Olivier Simmat, Alice Thomine-Berrada, and Karine and Philippe Turlure. 2 The opinions expressed in this study are those of the authors and do not necessarily reflect those of EDHEC Business School or the musée d’Orsay. About the Authors

Guillaume Logé is responsible for building Guergana Guintcheva is professor of ties, through partnerships and acts of marketing and member of the InteraCT patronage, between the musée d’Orsay Research Centre at EDHEC Business School and individuals, companies, foundations, in Lille, France. Her research revolves and institutions in France and abroad. around museum marketing practices He was active in the creation and launch of and, more broadly, around the marketing the musée d’Orsay’s workshop on culture of leisure activities. Recent work of hers and sustainable development. He has also has been published in the International held positions at the musée du quai Branly Journal of Arts Management. Her future and as deputy to the presidential advisor research projects look into the impact of for patronage. He has a DEA in French the experience of contradictory feelings literature and civilization (Université on moviegoers. la Sorbonne Nouvelle), a DESS in law (Université Panthéon-Assas), and a DESS in finance (Institut d’Etudes Politiques de Paris). He is a member of the steering committee of the Ateliers de la Terre (Planetworkshops).

Lisa Peñaloza is academic director of the InteraCT Research Centre at EDHEC Business School in Lille, France, and co- editor of Consumption, Markets & Culture. Her ethnographic research looks at the complexity of the interactions of cultural meaning and economic value in daily family and community life as well as in business. Her recent research deals with the market and sustainable development. Her work is regularly published in such scholarly journals as Journal of Consumer Research and Journal of Marketing. She has also produced two movies to promote her work: Generaciones: Cultural Memory, Identity, and the Market, and Inside the Mainstream: Credit in the US White Middle Class (with Michelle Barnhart).

3 Table of Contents

Introduction...... 5

1. Culture at the Heart of Sustainable Development ...... 7

2. The Poetic Efficacy of Art for Sustainable Development...... 14

3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability .....27

Appendix...... 46

References...... 47

EDHEC Position Papers and Publications (2008-2010)...... 55

4 Introduction

Vincent Van Gogh: Portrait of the Artist, 1887, oil on canvas. ©Photo RMN (musée d'Orsay) — Gérard Blot

Someone is looking at us. We know nothing St. John the Baptist no less than to those of him. When we went into the room, we of Mantegna’s Cardinal Carlo de’ Medici, looked around. We saw him, his picture Watteau’s Pierrot, Warhol’s Mick Jagger, hanging on the wall. He is there looking Freud’s Girl with a Kitten, an Ife queen, at us. We can tell that he has been there or an Oba of Benin sculpted in wood or a long time. We had sensed his presence bronze. long before we had come across him. It is the gaze not of one man but of all men. We are objects of all these gazes that, It is our gaze as much as anyone else’s. beyond time, point to the human being. We approach the painting Portrait of the Artist. Van Gogh did it in the fall of 1887. What do they come to throw into The brushstrokes are heavy. Blows. The sky confusion? What portions of our reality do is threatening. A blue night of the spirit in they approach? the center of which shines a bright sun. On the man’s forehead. The bright light strikes They question us. They question the past, us the way the gaze strikes us. It comes the present, the future. They give us a place from inside. It comes from the blood. With in history as human beings. They foist a the blood is violence. We are no longer responsibility on us: that of the world, the spectators. We are those being questioned. world of which Heidegger speaks: “that is, Those of whom a gesture is expected. the constantly changing cycle of decision Speech. We are a jumble of ourselves and and work, of action and responsibility, but of this man on the canvas. Of this alien also of arbitrariness and turmoil, decay who strips us of our selves and ties us to all and confusion” (Heidegger 2000, 56). other faces, to that of Leonardo da Vinci’s 5 Introduction

We have given a name—sustainable mongers, huge advertising campaigns that development—to our responsibility wrap all policies, all trades, all businesses, in this Heideggerian world. An oft- and all consumer goods in green have repeated expression whose music we no stripped it of its significance. We thought longer hear. An expression so seemingly we could disregard its essence. The self-sufficient it has lost all meaning. ontological foundations that govern it The turmoil of debates, the shouts of were put aside. alarm from environmental disaster

Outline This paper shows how culture is intrinsic to sustainable development and why the conception and application of sustainable development require culture. It shows how, through this cultural approach, we can, from a perspective of sustainable development, understand and craft the market.

We will begin by reviewing the birth of the expression “sustainable development.” This review of the terms and the major debates recurring in international treaties and academic texts will show the way the role of culture has been revealed (1). To conceptualize the role played by culture, the need for culture, and to show how it has inspired and guided this dynamic throughout history, we then work from the point of view of art to shed light on its contribution to the very essence of sustainable development (2). This approach will enable us to foresee changes in the markets that portend ever-greater societal responsibilities (3). We will conclude with the romising role of culture, art particularly, in contemporary debate, in the development of our societies most generally, and that pertaining to the market and to consumer practices (4).

We attempt to write under the gaze of the artist. We attempt to encounter him, over periods, styles, and tastes, throughout our work. We offer to the reader, as to the artist, this essay on culture, art, society, economics, and consumption in the wonder of being in the world.

6 1. Culture at the Heart of Sustainable Development

The ambition is clear: to decide on and durable, stable, solid). It is a recent term for create the new reality we are seeking. an old idea. A stone that philosophies and This ambition is known as “sustainable religions have been polishing for centuries; development.” An expression whose art tries out its forms, praises it, opposes it; essence must be looked at before the it shapes it at the junction of the mind, the circumstances of its appearance in polity, heart, and the senses. the bounds it has been assigned, and the emergence of the culture that has gradually The noun développement first appeared in been imposed on it can be examined. the late fourteenth century (desvelopmens). It encompasses a spatial and a temporal component. Development, necessarily, takes place in space and over time.

As for the temporal component, no sign is given. The notion of time is posed, but it is not characterized. The adjective “sustainable” modifies it. Sustainability characterizes that which is likely to last a long time, that which is unlikely to undergo modification, that which is preserved. It implies permanence (stability, constancy).

With the addition of “sustainable,” development moves toward development. It becomes its own end. Nothing but its continuation is expected of it. In this, it will be “sustainable.”

From the point of view of the spatial component, one sees that an action is François Garas: Temple to Thought, Dedicated to Beethoven, induced. It is necessary to go somewhere. Seen under Construction, 1897-1914, pen and ink watercolor. But the word, in itself, does not encompass ©Photo RMN (musée d'Orsay) — Hervé Lewandowski this direction. It merely bears an action (develop), not the terms of a choice. And it is for this reason that it is not sufficient The existential essence of unto itself. It indicates a possibility, even, sustainable development in a life perspective, a necessity.1 The The expression “sustainable development” trajectory may be upwards or downwards, appeared first in English. In French it rising or falling. On what foundations does is known as développement durable. The one determine its direction and the point translation has sparked debate, as some of arrival? prefer développement soutenable. In fact, “sustainable,” meaning “enduring” or The artist’s gaze on the painting opens “lasting”—that is, viable, tenable, durable— trajectories. He sets his sights on us, seeks is a very close equivalent to durable. In to reach us. At the most essential point. German and Dutch the adjectives used Vital. In the heart. He possesses us. Where to translate “sustainable development” life in us is taking shape. He enters. His likewise refer to durability (nachhaltig: strength is his gesture. Perpetual motion. durable, tenacious, persistent; duurzaam: Meaning and possibilities of meaning.

1 - Necessity: Character of that which is necessary. More broadly, all that which cannot not be or be other than that which it is (as opposed to contingent)” (Baudart 7 et al., 2005). 1. Culture at the Heart of Sustainable Development

This examination of the direction to on Environment and Development, take presided over the creation of the created in 1983. For three years, leaders international institutions bringing together and experts from around the world were different countries to attempt, in concert, consulted. The work led to the 1987 to define choices. publication of a report titled, “Our Common Future,” now more often referred to as the “Brundtland Report,” after Gro Harlem Appearance on the political Brundtland, who headed the Commission. scene and in contemporary debate of the expression This founding report defines sustainable “sustainable development” development as “development that The idea began to take shape when the meets the needs of the present without problem of the impact of economic compromising the ability of future development on the planet was posited. generations to meet their own needs” (UN Catastrophes and environmental problems WCED 1987, 40). The meaning is broad. (mismanagement of land and forests, It advocates satisfaction of the basic needs pollution and waste of water, over- of all as well as the possibility for each consumption vs. poverty, the impact human being to aspire to a better life. of chemical products on agricultural It states: “sustainable development is a commodities, genetically modified process of change in which the exploitation organisms, the recycling of household of resources, the direction of investments, and industrial waste, the greenhouse the orientation of technological effect, Chernobyl, and so on) have development; and institutional change raised awareness of the impossibility of are all in harmony and enhance both isolating matters of economic growth current and future potential to meet from those of the environment. In short, human needs and aspirations” (UN WCED economic development has an impact 1987, 42). on the environment, and damage to the environment challenge the very ideals The report proposes to link the reach of upon which economic development is the concept of sustainable development based. around a triple mandate: (1) to re-examine major environmental and development problems and offer realistic solutions, (2) to propose new means of cooperation likely to steer policy toward indispensable changes, and (3) to raise the awareness of individuals, organizations, volunteers, businesses, institutions, and governments.

It soon became clear that sustainable development was of interest not only to developing countries; it was also of interest to the so-called industrialized countries facing the same environmental Fernand Cormon, Ironworks, 1893, oil on canvas. ©Photo RMN (musée d'Orsay) — Gérard Blot problems. The objective of this broadened notion of sustainable development is: The expression “sustainable development” “human progress not just in a few pieces was made part of institutional vocabulary for a few years, but for the entire planet by the United Nations World Commission into the distant future. Thus ‘sustainable 8 1. Culture at the Heart of Sustainable Development

development’ becomes a goal not just for Academics of all specialties have examined the ‘developing’ nations, but for industrial this emerging notion in an attempt to shed ones as well” (UN WCED 1987, 20). light on it.

Claude Monet, Train in the Countryside, circa 1870, oil on canvas. ©Photo RMN (musée d'Orsay) — Hervé Lewandowski

Constantin Meunier, Puddlers at the Furnace, 1893, Bas-relief The meaning of sustainable in bronze. ©Photo RMN (musée d'Orsay) — René-Gabriel Ojéda development examined by The thinking propelled by the Brundtland academic research Report spread rapidly throughout In academic circles, mentions of “green” international organizations (the United and “sustainable” abound. Definitions are Nations, in the wake of the Brundtland as multifaceted as they are vague: they Report, with the Copenhagen, Rio de Janeiro, provide no clear view of the meaning and Johannesburg summits; UNESCO, with of sustainable development. Many its stance on cultural diversity). disciplines and schools of thought lead to cross-sectional and interdisciplinary As a result of its political origins, the notion connotations that involve a large number of sustainable development is bound up, of themes having to do, for the most part, in the collective imagination, with that with ecology and the environment, with of an institutional commitment both market practice and structure (fair trade, public and private. International summits, social responsibility, and so on) (Cotte meetings of national commissions, the and Trudell 2009; Bécheur and Toulouse French Grenelle Environnement round 2008; L’Etang 1994) and above all with table, and other such events organized energy use and waste treatment (Press and by non-governmental organizations, Arnould 2009; Peñaloza and Mish 2008). foundations, and associations take place one after the other. It is often hard to Regarding markets, it is clear that make sense of the messages coming out of sustainable production and consumption these events. When business appropriates are two sides of the same coin (Connolly these notions it gets harder still to discern and Prothero 2003). Oddly—by making any meaning. The “sustainable” and businesses aware of environmentally “responsible” discourse, as it happens, has responsible production—close attention become a powerful means for businesses is directed to sustainable production, to convey a favorable image of themselves whereas much less is paid to consumer (L’Etang 1994). behavior.

9 1. Culture at the Heart of Sustainable Development

Research on this theme shows that people development in markets. This discovery of associate environmentally responsible culture in the academic world goes hand behavior with recycling trash and reducing in hand with its discovery in institutions, waste. They do not associate sustainable through the failure of the “three pillars” development and consumption. Taking fully to support notion and the reality of this observation as a starting point, many sustainable development. academics are studying a “sustainable culture of consumption” (Kjellberg 2008; Stevenson 2002; Spaargaren 2003; Culture: the foundation and Connolly and Prothero 2003). They point frame of the three pillars of to the urgent need to understand the sustainable development meaning(s) consumers give to sustainable By convention, the notion of sustainable development if consumer practices are development rests on three pillars: to be influenced. Research underscores economic, environmental, and social. The the contingency of this meaning, its first two (economic and environmental) dependence on context, and on individual were introduced and validated by the or collective experience (or on lifestyle). Brundtland Report. The third pillar (social) They see a typology of “green” consumers was added by the 1995 Copenhagen taking shape. Some consumers choose summit on social development. environmentally responsible products only in an attempt to construct an image for themselves or buy an image (Connolly and Prothero 2003). Others reject all superfluous consumption and turn to second-hand markets (Kjellberg 2008). These consumers believe that they are entrusted with a personal responsibility and an activist duty.

The current economic crisis poses the problem of making environmental and Gustave Le Gray, Marine, Sky, 1856-57 , Print on salted paper, social variables, in addition to the ©Photo RMN (musée d'Orsay) — Hervé Lewandowski economic variable, an integral part of the management and definition of The economic variable expresses the need market value (Peñaloza and Mish 2008). to seek harmonious economic growth. As with the consumer, research on business The environmental variable means that practices is oriented toward so-called sustainable development should, for cultural approaches, whose objective is to the long term, contribute to preserving, examine the meaning of market value, the improving, and adding value to natural creation of market value, and the parties resources. The social variable, for its involved in it (companies, consumers, part, attempts to bolster the dialogue institutions, and so on). between and integration of societies and individuals, to ensure that the needs of all The orientation of these studies of are met, and to provide for greater social businesses or consumers requires the equity. formulation of these so-called cultural approaches. Academic research, then, The spirit conveyed by these three pillars must examine the cultural domain to appeals directly to a source of inspiration, 10 account for the workings of sustainable to a vision, to signposts. It is more and 1. Culture at the Heart of Sustainable Development

more common to hear that to act in cultural diversity one of its fundamental favor of sustainable disablement it is objectives. necessary to turn to historical heritage, to traditions, to beliefs… in short, to In the wake of the UN recommendation culture. Bruno Gastal, for example, asserts: (Agenda 21, Rio Earth Summit, 1992), “culture is a natural vector of sustainable France created an independent body to development, even though, in theory, it is advise the prime minister. In April 2002, not one of the three pillars” (Gastal, 2008). the French Commission on Sustainable Likewise, at the conference on culture Development (CFDD, from its French and sustainable development organized name—now dissolved),3 headed by Jacques by IFORE and held in Paris in June 2008,2 Testart, issued an opinion titled “On Claudine Brelet, an anthropologist at culture and sustainable development.” UNESCO, justifies the role of culture in Like UNESCO, it recommends making notions of sustainable development: “It culture the fourth pillar of sustainable is a view of the world that leads to a development. It concludes: “For the way of life, and vice-versa. This way of future of humanity, it is indispensable life depends on environmental conditions, to maintain and develop free and varied which lead to different views of the world… cultural practices accessible to all. It is on I consider culture a foundation of society: this condition that the model of a society culture is the foundation of sustainable that could be called sustainable has any development. By analyzing the culture meaning” (CFDD 2002). in which we find ourselves we will find the means to develop” (Brelet 2008). In Still drawing momentum from Rio 2001, UNESCO gave concrete form to (1992), an international network of local these thoughts by issuing the Universal stakeholders—Local Agenda 21 (led in Declaration on Cultural Diversity, France by Committee 21)—took shape; its followed, in 2005, by the Convention aim was to involve local stakeholders and on the Protection and Promotion of businesses. Among the objectives was to the Diversity of Cultural Expressions. have strategies for local development take The UNESCO approach makes culture a culture into account.4 fourth pillar of sustainable development. It tackles it more from the perspective of So, in institutions as well as in the academic its diversity than from that of its ability community, the vital place of culture has to produce meaning and action. For this been asserted. And yet, in its widespread reason, it does not proclaim it a source of invocation, little concerted focus is inspiration to sustainable development; found for the place, role, and workings of instead, it makes a fourth pillar of it; culture that make it of use to the debate that is, it considers it a set of assets on and implementation of sustainable and a value to share and protect. Along development. Most of the time, culture with environmental, economic, and social is approached from the perspective of missions, it assigns a mission of protection diversity and is given the place of the fourth of the diversity and of the vitality of the pillar. In itself, diversity means nothing for cultures of the world. sustainable development. More than a fourth pillar, culture should be recognized It is likewise from the particular as a foundation and frame of the three perspective of diversity that the European pillars of sustainable development. Union is most interested in culture. The European constitution, for example, made

2 - The Institut de Formation de l’Environnement was created by an inter-ministerial decree of 9 July 2001, as a unit, with nation-wide jurisdiction, of the ministry for 11 the environment. 3 - Decree number 93-744 of 29 March 1993 creating the Commission on Sustainable Development. 4 - For more information see http://www.reseauculture21.fr/ or http://www.observatoire-culture.net/index.php?id=9&idp=9.0 1. Culture at the Heart of Sustainable Development

We posit more specific articulation for this but also modes of life, the fundamental culture as the basis for sustainable market rights of the human being, value systems, development. traditions and beliefs.”

Studies will show, most usefully, to be sure, the ties between sustainable development and law, natural law,5 beliefs, customs, religions, and so on. For our part, to identify culture with art, we rely on the meaning of culture whose appearance in the eighteenth century is noted by Raymond Williams: “the independent and abstract noun which describes a general process of intellectual, spiritual and aesthetic development” (Williams 1979, 80).

We realize of course, if the definition given by UNESCO is kept in mind, that art is but a component of culture. All the same, it communicates with each of the other components. It is this intellectual, spiritual, and aesthetic process that echoes Williams’s definition that we have just cited. Alfred Stieglitz, The City of Ambition, 1913, Photogravure on tissue. ©Photo RMN (musée d'Orsay) — Hervé Lewandowski It is of particular interest to us because, like religions, beliefs, and philosophies, with which it is in perpetual contact, it condenses as much into the most concrete What definition of culture to realities as into their existential extensions encourage dialogue? and perspectives. “Culture” is a notion of bounds that fluctuate from one period to another. The Latin term cultura referred at first to Innumerable definitions have yet to exhaust agriculture: “The act of working the land its resources. Kroeber and Kluckhohn to derive from it fruits it would not have (1952) counted 150 of them, forged by borne on its own” (Godin 2004, 1534). scholars—anthropologists, sociologists, or From the perspective we are concerned psychologists—since the mid-eighteenth with, that of sustainable development, it is century. Raymond Williams likewise indeed work to which culture and art are observed the multiple meanings of the summoned, the working of the land, the word (Williams 1979). work of human beings. And of this work one can expect fruits that nothing else At the World Conference on Cultural could bear. Policies, from 26 July to 6 August 1982, in Mexico City, UNESCO suggested It is not that art is the sole source the following definition: “the whole of inspiration and action. It is simply complex of distinctive spiritual, material, one of these sources, an essential one. intellectual and emotional features that One that cannot be ignored because it is no characterize a society or social group. more possible to disregard the awareness It includes not only the arts and letters, and the wonder of being in the world than

12 5 - Natural law, from the Latin naturalis, natura: nature. “Law founded on an order of eminent values (ideal justice, moral duty), even if the exigency concerned has been recognized by positive law.” “A rule considered in accordance with nature (of men or of things) and, as such, recognized as an ideal law” (Cornu 2007, 607). 1. Culture at the Heart of Sustainable Development

it is to deny the power of art to give voice the action, doesn’t dictate it; it comes from to that which would otherwise remain it. We are no longer actors of sustainable silent. development; we become its puppets.

To return to the Van Gogh. Portrait of the To act, to make commitments in a responsible Artist. Fall 1887. The face is in front of us. fashion to sustainable development, is to It doesn’t take its eyes off of us. Its voice agree to enter a constant dialogue with the comes from a distant time. This voice has fundamental questioning it presupposes the color of all past colors, to which it has and the answers it is possible to provide. added its own. With whom to open this dialogue on The questions it asks us are constantly making meaning? How to think our ties to renewed. The man himself revolutionized the other, to history, to the environment, the art of his time. He gave us a broader to the social order, to the economy? The view of the world. He created a new role of culture, as it happens, is to forge reality. ties between the mystery of our presence in the world and our conscience. It is to Before we delve into the mechanism that construct the being in the human being, guides its action, we must specify the to shed light on the meaning of life. It is issues this potential of art in the sphere to propose and to build. of sustainable development is called on to address.

What sustainable development issues is culture called on to address At the heart of sustainable development: the need to define and construct meaning. When we speak of sustainable development, we speak of our ties to being, to the other, to time, and to that which surrounds us. We wonder what world we want to live in Auguste Renoir, Path through Tall Grass, 1876 and 1877, and what we want to do there. oil on canvas. ©Photo RMN (musée d'Orsay) — René-Gabriel Ojéda To act in favor of sustainable development, one must first be in a position to think it, to choose it, and act on it. To think that being in this position is unnecessary, that observations of the situation of the world suffice, and that the action to take is evident is to believe that one can advance in the dark and to take the risk of going against what one believes one is fighting for. It may not be thought out, but, like it or not, each act comes, in itself, with a certain idea. But in the spontaneous act, the idea is unknown to the subject. It doesn’t precede 13 2. The Poetic Efficacy of Art for Sustainable Development

Adopting a cultural approach to sustainable of which he discounts. He would rather development requires an examination of speak of “aesthetic efficacy,” understood the means through which culture works. as “the cutting of all direct ties between This, then, is the sense of our work. the production of forms of art and the It is here that we acknowledge that culture production of a given effect on a given plays a role in what one could call “being- audience” (Rancière 2008, 64). In other in-the-world,” as Heidegger put it. This words, the ultimate efficacy of the work is ontology of culture (of art) transforms, out of its creator’s control. founds, and gives meaning to the world around us.

The aim of what follows is to analyze the mechanisms through which art and sustainable development interact. We will then see in what way a study of the workings of the market, of consumption, enables us to identify similar workings and to imagine the interaction, greater still, of the efficacy of art and the market, in view of new consumer behavior, of new consuming beings, closer to sustainable development enlightened by culture.

For our purposes, we resort to elements of aesthetics, sociological, and anthropological theory; we look into the processes of creating meaning, into the workings of contemplation, into the circulation of François Pompon, Young Owl, 1923, bronze statuette. meaning and objects, into the interaction ©Photo RMN (Musée d'Orsay) — A. Morin/Gallimard of the private and the public, and into ownership. This observation does not seem to us, for all that, to do away with the power At the outset, we posit and explore the of the very representation of the work concept through which art turns out to when it has a figurative dimension or a be intrinsic and necessary to, as well as clearly intelligible meaning or intention. effective for, sustainable development. Although the artist may well have no We will then see that this concept has had control over the effect of the subject concrete uses throughout history. he tackles, the existence of an effect seems evident, even if it is not what is most primordial. One can thus say that Introduction to the notion of there is production of meaning in the the poetic efficacy of art, from work that could be called iconographic the point of view of sustainable meaning; it is the very given of the image development (of the sound, of the text, and so on) Art offers endless lines and endless one sees. It is testimony, documentary strengths. That is what one might call (and it is the reason that is often used by its efficacy. In “political art,” Jacques historians to describe the state of society Rancière identifies “representative at a given moment). 14 mediation,” and “ethical immediacy,” both 2. The Poetic Efficacy of Art for Sustainable Development

such Renaissance studies of perspective as those by Brunelleschi and Alberti. Erwin Panofsky shows that the use of perspective relies on a philosophy of space itself dependent on a philosophy of the relationship between the subject and the world (Panofsky 1975). The work of art creates the spectator. It presupposes him and makes him part of its very process.

Paul Delance, Strike in Saint-Ouen, 1908, oil on canvas. The work of art is built of him and for ©Photo RMN (musée d'Orsay) — Hervé Lewandowski him. This perspective creates “a function of synthesis recognized to the ‘self,’ the Of course, in addition to this possible self which registers at the departure of the iconographic meaning, the work of art system (under the type, here, of the ‘point involves, as Pierre Francastel puts it, a of view’) and which the system seems “combination of experiences” (Francastel to lead incessantly back to” (Damisch 2010, 8) (sensual experience, emotive 1983, 106). From a Lacanian perspective, experience, experience of knowledge, then, the work of art is the function in temporal experience, spatial experience, which it is for the subject to be found historical experience, and so on). And this as such (cited by Damisch 1983, 115). combination mobilizes the intellect as In other words, the work leads the much as it mobilizes action. “The figurative spectator to position himself within this object is the term of an experience and, at action, this movement with which we have the same time, the point of departure for characterized the expression “sustainable a new experience that puts it back into development.” its creator’s mind as a fixed point the combined processes of thought and action We choose to call the efficacy of art, in the later crystallize around” (Francastel 1960, province of sustainable development, the 284). poetic efficacy of art, as it encompasses three interdependent faculties: that This efficacy could be said to be an of situating man in space, time, and efficacy of or in movement. It is thus humanity (efficacy properly speaking: that Mark Rothko defines the tie to the iconographic meaning to which is the painting: “Movement in relation to added Rancière’s “aesthetic efficacy”), that the picture plane—away from it, toward of enabling him to see (the prophetic it, and simultaneously across it—is the dimension typical of the workings of means by which the pictorial experience poetry, considered in its essence), and that is achieved” (Rothko 2004, 48). It is an of calling on him to create (the normative efficacy of movement. “It consists first of or generative dimension, it too typical of arrangements of bodies, of the portioning the workings of poetry, considered in its out of singular spaces and times that essence, and which draws on the notion, define ways of being together or separate, introduced by Jauss and Mittelstrass, of in front of or in the midst of, within or “poietic power.”6 without, near or far” (Rancière 2008, 61). It thus makes it possible for man to situate The principle of this poetic efficacy of himself in relation to time, to space, and art is stated by Hölderlin when he writes: to the other. Intellectually, it is an effect “C’est poétiquement qu’il faut habiter of perspective that can be likened to le monde [The world must be inhabited

6 - “The artist and the audience conceive of their practice of art as a constructive, creative activity, as the exercise of a poetic power. […] Whereas ‘theoretical power’ 15 involves establishing true propositions and ‘practical power’ involves judging actions by the categories of ‘good’ and ‘bad,’ ‘poietic power’ is the power to recognize what can or cannot be done” (Jauss 1978, 152). 2. The Poetic Efficacy of Art for Sustainable Development

poetically]” (Hölderlin 1967).7 “I inhabit” Jauss synthesizes our remarks by stating means “I am.” The way in which we are on that “art, in spite of dialectic materialism, earth is habitation. And this habitation is is not simply a sign of an existing social to be built. If Hölderlin sends us to poetry, constellation but is also possessed of the it is because the very function of poetry power to foresee a future constellation. is to build. In Greek, poïesis refers to ‘Without exception,’ writes Benjamin in creation, to the act of production. Reading Einbahnstrasse (One-Way Street), the the Hölderlin poem, Martin Heidegger great poets already combine the elements notes that human existence “is ‘poetic’ of the world that will come after them: in its ground. But we now understand the streets of Paris existed before 1900 no poetry as a founding—through the naming more than did Dostoyevsky’s characters’” of gods and of the essence of things” (Jauss 1978, 229). (Heidegger 2000, 60). In German, the infinitive dichten refers not only to writing verse but also to an activity that creates and shapes and that shows itself as an ontological revelation (Heidegger 2000). And Heidegger (2000, 58) adds: “But what remains is founded by the poets.”

The poet is the Letter, a founder. This stance is linked, over an interval of several years, to that of Rimbaud, who observed the need to see and to create. From Paul Gauguin, Vairumati, 1897, oil on canvas. the point of view of interest to us, one ©Photo RMN (Musée d'Orsay) - Hervé Lewandowski could say: seeing, to guide movement; creating, to spark movement, to provide Through an approach to art not such material for all points of its progress as that—aesthetic—taken by Jauss but through space; creating, again, to make it sociological, Pierre Francastel reaches a productive, constructive. This dual mission similar conclusion. For Hubert Damisch, is the poets’, it is applied to Hölderlin by analyzing Francastel’s article “Art and Heidegger,8 and it is taken up with vigor Technique,” “Francastel has long attempted by Rimbaud: “I want to be a poet, and I to demonstrate the existence of plastic am working to become a seer (Rimbaud thought, and to show how artists materialize 1871). new perceptions, suggest new modes of action, new ties to space, new values, thus That vision summoned by Rimbaud is anticipating reality and creating, along not, of course, the physical faculty of with the learned, ‘the ideal framework the eye, but a plunge into the human of qualities and values in which man will marrow, a vision of man that “ticks off attempt to fit in the coming generations’” the possibilities,” as Jim Morrison (2010, (Damisch 2010). For Francastel, “the arts 15), reader of Rimbaud, will say. Their organize life to come” (Dufrêne 2010). sensibility calls to mind the role Aristotle ascribed to the poet: “[He] should express The anthropologist Alfred Gell, who above all what should be in human life. seems to have no particular knowledge of […] [His] production sheds bright new Francastel’s work, takes a similar position light on human reality, showing all its in his 1998 work Art and Agency. He potentialities” (Philippe 1991, 95). considers art a system of action that

7 - Other translations are similar: that of A. du Bouchet: “[…] poétiquement toujours, / Sur terre habite l’homme” (Hölderlin 1989, 81) and that of J. Hervier: “[…] 16 poétiquement habite / L’homme sur cette terre (Hölderlin 1989, 83); and that of H. Corbin: “[…] c’est poétiquement pourtant / Que l’homme habite cette terre (cited in Heidegger 1973, 53). 8 - In the nineteenth and twentieth centuries many of Hölderlin’s exegetes called him der Seher (the seer). This German word refers to the prophet, the visionary, “he who sees farther into the future than his fellow men” (Lefebvre 1989, 417; Heidegger 2000). 2. The Poetic Efficacy of Art for Sustainable Development attempts to change the world rather than certainly have it arise from the earliest to put into symbols what might be said of artistic representations. it. He adds that, because it is concerned with objects as concrete mediators in The first to make use of it was Aristotle, social processes, analysis of art in terms of who, instead of keeping the poet outside action owes more to anthropology than it the city walls, makes him part of politics does to semiotic analysis (Gell 1998). and philosophy. With the notion of catharsis, Aristotle explains the way that What we are expecting, by way of art enables man to improve himself. A illumination, to think sustainable similar approach can be found in the sacred development are elements of meaning art, in the broad sense, of all civilizations. and possibilities, potentialities of action, Medieval Europe will make concrete use standards. We expect all the perspectives of of it in the construction and decoration of art history, and of all artistic productions, religious buildings, which resemble open regardless of the field, to link potentialities books offering teachings to the faithful to reality for us, and we expect them and to pilgrims. The medium of the art to link them to us. “Poetry awakens the must contribute to the education, to the illusion of the unreal as opposed to the perfection, and to the salvation of souls. tangible and clamorous actuality in which we believe ourselves to be at home. And The Renaissance, the roots of which are yet, on the contrary, what the poet says found in antiquity, likewise resorts to and undertakes to be is what is truly real” this poetic efficacy of art, as shown most (Heidegger 2000, 62). clearly by the studioli that began to appear in Italy.10 The poetic efficacy of art, in the service of sustainable development, makes it possible These hybrid loci, studies, private museums, to situate man in his history and in history reception rooms, chapels for the arts writ large. It likewise links the past and and the spirit, are meant as much for the present and possible futures. It endows the personal use and edification of their man with the means for enlightened owners as for that of the favored who creative action. To think his work in have the honor to enter them. The role of the sense that poetry is thought: as an art (art in its broadest sense: great artists accomplishment of being-in-the-world. share walls and nooks along with objects from nature, curiosities, and scientific For Francastel, “through art, man informs instruments) is to inspire the decisions the future, changes the world; art is a plan, made by man. And this, in the political an anticipation. The work of art is a utopia and the military domains no less than within reach. The work has the power of in the private ones. In the studiolo of establishment” (Dufrêne 2010, 12). the Belfiore Palace, in Ferrara, Michele Pannonio and Francesco del Cossa painted the muses (to whom the museum is the The poetic efficacy of art temple11) so that they might guide the throughout history, from a prince. In the hands of these powerful perspective of development men, possessors of studioli, the fate of This poetic efficacy of art, insofar as it peoples and of states. The muses are called situates, reveals, illuminates, and models, on to preside over the choices that must has been acknowledged throughout be made, the same choices that will always history. An archeology of the notion would have to be made.

10 - Among the most well known are that of Federico da Montefeltro in the ducal palace of Urbino, that of Leonello d’Este in the Belfiore Palace of Ferrara, that of 17 Guidobaldo da Montefeltro in the ducal palace of Gubbio, that of Cosimo I de’ Medici in the Palazzo Vecchio of Florence, that of Isabella d’Este in Mantua, in the Castello San Giorgio and later in Ferrara. 11 - The nine muses mediated between the gods and men. 2. The Poetic Efficacy of Art for Sustainable Development

The idea of these private studies spreads Art and industry question each other. throughout Europe. Numerous private Some creators choose to turn a deaf ear museums are thus created. In the to the siren call of modern techniques, eighteenth century, the encyclopedists but some companies (Christofle & Cie, come up with a definition of museums, a Thonet, Barbedienne, and others) get definition that transcends art and invokes artists and their work involved with culture in the broadest sense: “A place to new means of production. As of 1851, preserve and show the products of nature, major exhibitions, which become “world’s of the sciences, and of the arts” (Georgel fairs,” exalt the progresses of the century. 1994a, 16). They form huge laboratories where the world exhibits, tries out, and offers new In 1750, under the sway of the Enlightenment, prospects for development. It is likewise the royal authorities ordered the public in the nineteenth century that awareness exhibition in the Palais du Luxembourg of of and debate about what we now call 110 paintings from the royal collections. “sustainable development” first appear. The first “modern” museum, the Ashmolean, The world’s fairs link art to all the opened in Oxford in 1759 (Georgel 1994a). dimensions of society and, in particular, It preceded the 1793 creation of the to business and manufacturing. Muséum in the Louvre. In 1794, in response to criticism of the choice of the 537 paintings and 124 sculptures, art objects, and curiosities presented to the public, the Convention charged a body headed by David with the task of rethinking plans. The legislator Boissy d’Anglas defines in these terms the essence of the nature of the museum: “it is there that, for centuries and for the universe, the highest school of man must be held” (cited in Georgel 1994b, 32). The Enlightenment very clearly assigns the museum a political and social role with respect to the people. It locates art at the very source of the freedom gained by the people from the Revolution. Art must be accessible to all, as it must fashion the very principle of liberty and it must the political, moral, and visionary conscience Thonet brothers, Chair no. 6, circa 1850, bent beech. of the people. In the nineteenth century, ©Photo RMN (musée d'Orsay) — Gérard Blot nearly six hundred museums are created in France. In England, William Morris takes inspiration from the theories of Marx and Ruskin. He advocates the irruption of art into daily life as a vector of emancipation and equality. He is the father of a school of design that draws on art to educate and to enable the establishment of a just social order: “To Owen Jones, Project for a Crystal Palace in the Park of Saint him, ‘function’ related always to human Cloud, 1860-62, pencil, watercolor, and colored pencil. life and activity, never just mechanism, ©Photo RMN (musée d'Orsay) — Hervé Lewandowski form or material of particular objects” 18 2. The Poetic Efficacy of Art for Sustainable Development

(Watkinson 1979, 7). It is what might be more autonomous technical universe” called a form of concrete realization and (Thiebaut 2003, 65). a form of merchant realization (we take this term in a positive sense) of the poetic efficacy of art. In much the same veins as those of Morris are the efforts of the Royal Society of Arts, whose full name was The Society for the Encouragement of Arts, Manufactures, and Commerce. The Society awarded prizes and organized (as literary and philosophical circles often did) exhibits of manufactured goods (“art manufactures”) (Watkinson 1979).12

Hector Guimard, between 1867 and 1942, lead pencil and charcoal on cartridge paper. ©Photo RMN (musée d'Orsay) — Thierry Le Mage

William Morris, Peacock, 1878, wool tapesty. ©Photo RMN (musée d'Orsay) — René-Gabriel Ojéda

The Arts and Crafts movement influenced several artists, including Olbrich, Behrens, and Van de Velde. It fostered the development, in the late nineteenth century, of Art Nouveau, whose “primary objective is […] to rethink contemporary man’s surroundings, subject as they are to new social realities and facing new questions tied to the advance of the sciences and the development of an ever- 19 12 - See also the role of precursors to William Morris: the approach hybridizing Catholicism and references to the Gothic period of Auguste Pugin, that of Owen Jones, and the influence of the pre-Raphaelites. 2. The Poetic Efficacy of Art for Sustainable Development

He “[sees] in art and in technique the counterpart to the equation ‘culture and civilization’ found at the center of all these discussions” (Droste 2007, 10).

Koloman Moser, Dish for Inkwell, 1905, silver and glass, ©Photo RMN - Droits réservés

Shortly afterward, and along the same Jules-René René Lalique, 1899-1905, black ink and gouache lines, the Bauhaus school, first in Weimar on tracing paper. ©Photo RMN (musée d'Orsay) — Hervé Lewandowski and later in Dessau, is founded. Gropius, the founder, “[accuses] institutions training independent architects and artists of fashioning a ‘proletariat of artists […] ill equipped for the struggle for life’” (Droste 2007, 15). In the Bauhaus Manifesto he insists on the need for cooperation between artists and craftsmen. The education his students get is, as it happens, this: manual and artistic training. Art must guide the hand and the mind of man in his choice of color, of form… The concrete environment, on the whole, springs from the lessons learned from reflection on the essence of art. “Art makes visible” (Klee 1920), says Paul Klee, one of the Bauhaus professors. It makes visible the idea, the notion of a Emile Gallé, Burning Seeds, 1899, vase: blown glass ©Photo RMN (musée d'Orsay) — Hervé Lewandowski certain being-in-the-world.

In 1910, Walter Gropius joined the Deutscher If the Bauhaus principle were to be Werkbund. This association of German reformulated in light of our remarks, one craftsmen, “the first real alliance of art option would be: to conceive of the object, and industry” (Thiebaut 2003, 72), was within a dynamic of the poetic efficacy of created in Munich by architects, artists, and art, as the concrete possibility of eliciting entrepreneurs. It seeks to strike a balance aesthetic pleasure and demonstrating a between moral, artistic, and entrepreneurial certain societal view. Through this formula, exigencies, a reconciliation of capitalism it is the analysis of Hubert Damisch and culture. Gropius worked as a writer and Pierre Francastel, uttered in “Art et for the almanac Die Kunst in Industrie und technique [Art and Technique]” that one Handel (“Art and Industry in Business”). comes across again: “It is insofar as art 20 2. The Poetic Efficacy of Art for Sustainable Development represents this original form of activity— be studied. Is it not, after all, on the neither abstract speculation nor pure foundations of the Mingei movement technique—that it has its own efficacy that architects and designers such as and that the artist can stake claims to a Le Corbusier, Bruno Taut, and Charlotte determinant role in the making of the new Perriand drew? More broadly, it is an face of the world” (Damisch 2010). in-depth look at the artistic production of civilizations in Asia, Africa, Oceania, and the Americas that will enrich our study.

As can be seen, this poetic efficacy of art, in keeping with a societal role, takes its place at the heart of major historical issues and models of development. It is expressed though movements, groups of artists, and individual works.

The twentieth century has also experienced this poetic efficacy. We will simply provide some examples showing the directions it took: directions that resound, of course, with the issues at the fore at the turn of the millennium (authoritarian political regimes, wars, communism, new technologies, and ecology, and so on).

Advances in the means of reproducing and Christopher Dresser, 1879, Claret Jug, silver and glass ©Photo RMN — René-Gabriel Ojéda diffusing art since the nineteenth century have very quickly interested governments. Politics, for example, has integrated them and what use of them it could. Not always for the better. Thus dictatorial regimes that have relied heavily on them for propaganda.

The situation of cinema in the period of Soviet Russia is, in this respect, particularly instructive. Its mission was to promote party ideology. But the ability of art to criticize and to show new horizons has François Garas, My Little House, Blueprint, 1896-1914, always been stronger. S. M. Eisenstein paid watercolor ©Photo RMN — Hervé Lewandowski the price for his audacity, so intelligently distilled, through the masterpiece that The signposts and other evidence, beyond is his trilogy (Ivan the the Western world, of this principle of Terrible, 1944-1946). an art that invests in the creation of material goods, which thus convey a The political and, more broadly, social certain philosophy of life and, leaning conscience of cinema, the warnings it toward personal growth, make, after a sounds, are common to all periods (Chaplin’s fashion, man in their image must likewise Modern Times [1936]; Renoir’s Le Crime 21 2. The Poetic Efficacy of Art for Sustainable Development

de Monsieur Lange [1936]; Aldrich’s Kiss and perspectives, validate the discourse of Me Deadly [1955]; Michael Radford’s 1984 Marshall McLuhan, who, in Understanding [1984]; Loach’s Land and Freedom [1994]; Media, asserts that art is a means of Truffaut’s Fahrenheit 451 [1966]; Kubrick’s foreseeing the social and psychological A Clockwork Orange [1971]; Schlesinger’s effects of coming technologies (McLuhan Midnight Cowboy [1969]; Kubrick’s Dr. 1972, cited in Kroker and Hughes 1985). For Strangelove or: How I Learned to Stop Kroker and Hughes (1985), the artist can Worrying and Love the Bomb [1964]). be considered the prophet of technological experience. In Metropolis (1926), Fritz Lang creates a society of progress that divides humanity Beuys, for his part, suggests learning an and relegates to beneath the ground a original truth from the material, from part of dispossessed humanity. All the nature, from animals, and from organic same, the film does not give way to life: “People today no longer know much pessimism. Maria, the heroine, announces about the essence of things […] or about to the slaves the dawn of better times that the meaning of life, about the meaning will be revealed through the cataclysm of of ties to the world” (Beuys 2001, 14). the machine. He plays on their transcendence. Their texture, smell, sound, like a descent into Lang poses as a critic of both a system and the intimacy of their mystery and their a civilization. In his view, man “has lost revelation. The fundamental element of the deeper meaning of life. He works only his sculpture (“social sculpture”) involves for realities, for money, not to enrich his taking material whose form is soul but to gain material advantages. And indeterminate and transforming it, because he forgets the meaning of life he through movement, into something is already dead” (Lang 1959, 2). determinate (yet in a constant state of change, decay, degradation, color All Lang’s body of work shows his fervent alteration, chemical reaction, and so on). desire for a more just and more enlightened The essence is linked to the effect (or world (Eisner 1947). In this respect, his effects). One could say that it provides movies are often premonitory. Think, for awareness of being and of that which is example, of the Nietzschean superman coming. Of the possible contained in the embodied by Mabuse (Das Testament des knowledge of that which surrounds us. In Dr. Mabuse [1933]). Some time before the Joseph Beuys: Is it about a bicycle? the outbreak of the Second World War, Hitler German artist (Lamarche-Vadel 1984, 22) is already taking shape in the evil character reveals a prophetic concept of his art, of this doctor who hypnotizes crowds to the progress it leads to, and its societal get them to work in the service of his folly commitment: “The bicycle in our work has for domination and destruction. to do with problems as varied as those of the third world, of the structure of society, In 1985, in an altogether different field, of spiritual life, of justice, of democracy, two Canadian researchers (Kroker and and of the economy” (cited in Borer 2001, Hughes 1985) looked into the work of 22), this economy that he extends “to the contemporary artists (Esther Warkov, domain of the spiritual forces of society” Tony Tascona, Don Proch, and Ivan Eyre) (cited in Borer 2001, 27). All of us are examining new technologies and their urged to take part in this laboratory where ties to the psychic arts, addiction, power, man thinks himself, liberates himself, and culture, society, ecology, and so on. The where action becomes concrete. All are analyses they make of this work, the lessons urged to dwell on the world, to be in 22 2. The Poetic Efficacy of Art for Sustainable Development harmony with it, and to grow (to be born). as well: architecture, design, dance (in In the performance Der Chef (1964), the collaboration, for example, with Renzo cry of the stag is heard, the heartbeats of Piano, Tadao Ando, Issey Miyake, Jiri the hare… primitive sound and its power Kylian). His wealth of talent led him to over souls (the awakening of innerness, imagine a utopia titled “Breathing Earth,” one might say, in describing the work of an autarkic village where the forces of Beuys, an acolyte of Rudolf Steiner and his nature would be harnessed to provide anthroposophy). for the needs of the community. Once again, in his work, science (agricultural, Susumu Shingu takes us to another form oceanographic, astronomical, mechanical of exploration of the tie between nature, engineering) meets art. And the alliance movement, and men. The Japanese artist speaks of a better life. Of harmony and makes visible forms of the invisible. of the beauty of being in the world. Movements of nature speak to us of As Véronique Jaeger (2006, 2009) notes: our own movements. The creator of “Susumu Shingu gives us a message of Wind Caravan (2000-2001) observes the movement and a glimmer of hope.” dynamics of bodies such as those of natural energies. He relies on a wise and knowledgeable use of technology and the sciences to reveal the essence of materials. Paths cross. A process of interiority, a process of exteriority. The gaze no longer knows the time that contemplates life in the mouvance of these forms that form the flux of an essential word. We may listen more than we contemplate. We lend an ear to the infinite nuances of Susumu Shingu – Wind Caravan, October-November 2000 rhythms. A design of harmonies. A design Motukore, New Zealand, uninhabited island off Auckland. of a creative void. The face of nature, of ©Susumu Shingu, Courtesy Galerie Jaeger Bucher, Paris our nature, revealed. A summons never to cleave from this existential conversation: “When our spirit is capable of harmonizing with the movement of nature, our vision will be infinitely broader and deeper. We will thus manage to understand universal truths and we will experience even profound emotions and spiritual pleasures in our contacts with nature. Air, water, and gravity, these three elements unique to our planet Earth, are at the origin of all Susumu Shingu – Wind Caravan, July 2001, Undur Dov, energies and lives” (Shingu 2006). Mongolia, wide green steppe. ©Susumu Shingu, Courtesy Galerie Jaeger Bucher, Paris Susumu Shingu is unraveling the threads. He lets them inhabit forces: air, water, gravity, sunlight. And he lets the forces inhabit them. A dual movement. Like that which governs the ties binding people and nature. Sculptor, poet, philosopher, he works in other disciplines 23 2. The Poetic Efficacy of Art for Sustainable Development

Susumu Shingu, Wrinkles of Light, 1993, stainless steel, canvas, H. 1,39 m, Collection of the artist. © Susumu Shingu, Courtesy Galerie Jaeger Bucher, Paris

This hope and this wonder before the essence of nature also permeate the work of the American choreographer Carolyn Carlson. Carlson creates her work Eau in 2008 at the Opéra de Lille. Through a combination of dance, images, music, and texts, she founds a “visual poetry,” as she herself calls it, that highlights the existential and spiritual dimension of water, an element so closely bound up with man, from his birth, through his feelings, his dreams, his aspirations, to the transfiguration to which he aspires.

Eau gives us an easily described synthesis of the poetic efficacy of art in the field of sustainable development. All the degrees of our demonstration are approached. Choreography perfectly translates Jauss’s remarks that show the way the “pleasure” derived from “aesthetic experience contributes “to the social function of art” (Jauss 1978, 137).The three dimensions suggested by Jauss, if applied to the work of Carolyn Carlson, attest to its poetic efficacy for the spectator: “conscience as a productive activity creates a world that is its own work; conscience as a receptive activity grasps the possibility Susumu Shingu, Breathing Earth Diorama, 2009, steel, wood, fiberglass, and plastic of renewing its perception of the world; ©Susumu Shingu, Courtesy Galerie Jaeger Bucher, Paris finally—and here subjective experience leads to inter-subjective experience— aesthetic reflection holds to a judgment required by the work or identifies 24 2. The Poetic Efficacy of Art for Sustainable Development with standards of action that it it, to know what is being protected and outlines and the definition of which it is why it is being protected. It locates the for its recipients to fill in” (Jauss 1978, environment not in a mere ecological or 143). economic dimension but in a fully human and existential dimension. And each time, Through her creation, Carolyn Carlson in each debate on sustainable development, places the spectator within an experience, a similar dimension should be conjured up an aesthetic experience, necessarily before any action is taken. subjective, that he must define for himself. And in this movement she urges us to reflect, through our sensory intellect as How does poetic efficacy well as through our pure intellect, on descend into the three pillars of the meaning of water. On the meaning sustainable development? of water for humanity, including and of We present these ties between art course transcending the mere issue of the and sustainable development to help survival of the species. She illuminates understand that all art(?) work, regardless its dimensions. Her commitment is often of its nature, its subject, its period, its expressed, in the form of a very clear creator, has something to say to us about truth, through the texts declaimed by the humanity and its development. It is our storyteller/dancer: gaze, our thoughts, our convictions, that are modified by art; it is our acts that it et quand vous aurez mêlé à chaque vague illuminates. la sueur fétide des usines l’excrément de vos rêves How could the role of art in the protection de quel droit vous étonnerez-vous of the environment be discounted? Is que la mer ne soit pleine there no point to having it speak of, and que de vos larmes ? reveal nature? To having it situate us with respect to the natural world in all of its hommes vous vous retournerez beauty, wisdom, monstrosity, and dread? Is vers vous-mêmes there no point to the debate? Can we settle et vous verrez tombez de vos doigts for a purely utilitarian concern: to eat and une poussière froide to breathe we need nature, so we must et vous reconnaîtrez en elle protect it? What a great reduction of man votre propre visage and the world we would witness! What lack of depth! What lack of ambition! et vous comprendrez soudain trop tard qu’en tuant les sources le ciel et la vague We are going through a crisis whose en tuant la neige en tuant l’arbre effects are, among other things, economic. c’était votre propre visage13 It is being compared to that of 1929. Views are discussed; pundits offer diagnoses and Because it illuminates, because it gives prognoses. The economy has tricked man, the individual a means to make a free and man has come groggily to his senses. Is judgment of the element water, because it a crisis caused by financial instruments it puts him in a position to read it, to so complex that those who invented them understand, a work such as this one is can longer control them? Or is it a malaise of great interest to those who seek to caused by a broader loss of meaning? understand the environment, to protect Did we believe in the economy from an

13 - And when you have filled each wave / with the noisome exudations of your factories / the excrement of your dreams / how can you be surprised / that the sea 25 is full / but of your tears? You will turn back / toward yourselves / and from your fingertips will fall / a cold dust / and in it you will see / your own face. And you will realize / at once, too late / that by killing spring, sky, and wave / by killing the snow, by killing the tree / it was your own face. 2. The Poetic Efficacy of Art for Sustainable Development

existential perspective? The artist gazes at us. He questions us by shaking the ties binding us to the world. Can finance and its human dimension be dissociated? Can we forget that it delves into our very transcendence by affecting our fates?

26 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

The cultural approach eclectically blends Of the scores of photographs and concepts, perspectives, and analytical displays of celebrity athletes, those of techniques from the arts and sciences as Michael Jordan predominated. “They alternative ways of knowing consumption treat him like a god,” Lili (Latina 60's) (Belk 1986) and markets (Peñaloza and told me during her first visit. Initially, Mish 2008). We appreciate that art and I was puzzled at her invocation of science converge in many aspects of the deity, but as I reviewed the data I marketplace, as manufacturing firms and noted many references to superhuman retail stores incorporate artistic design feats. In addition to the sculpture of and display techniques from artistic Michael Jordan at the entrance, on the studios, galleries, art fairs, etc., and as second floor was a two-story-length arts institutions strive to enhance the photograph behind the full-sized experiences of visitors and patrons in backboard of Michael Jordan coming applying techniques from theme parks down from the clouds to dunk a basket. and other consumption environments. As Beneath the image were the words of Connolly and Prothero (2003) noted, the William Blake, "No bird soars too high discourse of science has predominated in when he flies with his own wings." I debates about sustainability, leaving much was taken aback by the magnitude and important work to be done regarding the serenity of the image, and I was not vital role of cultural forms and institutions. alone in this reaction. I watched as a In this sense, we consider art, consumption, middle-aged Anglo couple stood before and markets as what Lawrence and the photo, their voices dropped to a Phillips term institutional entrepreneurs whisper. (366) (2004) in advancing sustainable market development. Observing consumers and interviewing them at the store for their reactions to Applying Alberti’s and Brunelleschi’s displays of Jordan’s shoes, his picture on work on perspective metaphorically to boxes of Wheaties cereal, a miniature consumption and market development, claymation sculpture of Jordan, and his we replace the logic of geometric lines, golf clubs, Peñaloza continues, light, and color with the logics of objects, practices, meanings, and social Elisa (Latina, 20's) gave her reactions to relations. Just as geometric concepts and the Jordan displays, "It's kind of a cult. principles allow a precise mapping of a It's fun.” This was her second visit, and three-dimensional reality onto a two- she had brought her parents who were dimensional surface, so too, the concepts visiting from Venezuela. "It's beautiful," and principles of agency, symbol systems, her mother Lydia (Latina, 50’s) told aesthetics, service, and heritage help me, "so expansive." Next through the articulate the ways in which consumers, room was an Anglo family who lived in workers, managers, stockholders, traders, the area—parents, grandma, two boys, and government representatives are and an eight-year-old girl who had implicated in consumption and markets. come to shop. Mark (White, 30's), the father, played basketball in college, and To illustrate, in the passage below Peñaloza described the store as amazing, "I didn't (1999) illustrates the use of aesthetics by expect this. It's like a museum. This is the company Nike and the reception by great," he said, pointing to the display consumers in Niketown, one of the firm’s cases of Air Jordans. William (White, signature showcase stores: 40's), who had come from Pennsylvania with his wife and two sons, described the 27 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

store as follows, "It's a whole different as accomplished through the medium of shopping experience," the man told art. me, "The majority of stores are chains, with merchandise all packed in. This is Coining the term consumer cultural theory, not even like you're in a store." Then, Arnould and Thompson (2005) provide pointing to the black and red l985 a comprehensive review of this work and l986 shoes, he added, "these are published in the Journal of Consumer collectors' items." (367) Research, emphasizing “empirical studies that analyze how particular manifestations The passages above describe the spatial of consumer culture are constituted, enunciation of consumers in moving sustained, transformed, and shaped by through the architecture and relating broader historical forces (such as cultural to design accoutrements including glass narratives, myths, and ideologies) and cases of celebrity sports jerseys and grounded in specific socioeconomic sneakers in Niketown, in ways analogous circumstances and marketplace systems” to the ways people are moved in relating (869). to art objects in a museum. Their strong reaction and aesthetic amazement provide Market cultural theory is less developed, a retail example of Jauss’s concept of but this emerging body of work focuses aesthetic pleasure, jouissance, as detailed on market actors, discourses and practices. earlier, which we use as a springboard to Published in books and journals such as initialize our approach. Consumption, Markets, Culture; Marketing Theory; the Journal of Marketing; and the European Journal of Marketing; this The cultural approach research maps out social and historical The cultural approach draws attention patterns in markets, examining marketers’ to the negotiation of meaning and activities in relation to other actors value in consumption and markets. This (managers and employees in large and loosely defined body of work builds upon small firms, consumers, stockholders, scholarship from the humanities and social activists, etc.), exploring signification sciences in examining consumption and and valuation processes through which market discourses and practices, defined personal, social and institutional relations most broadly to feature their manifestation are produced and conveyed in the in and outside the marketplace (McCracken development of marketing strategies in 1988, 2008). artifacts (advertising, product development, distribution, pricing) and marketplace sites To overview, this research maps out social (online and bricks and mortar), and tracing and historical patterns in consumption, the formation of organizational identity examining consumers’ interactions with and the consolidation of industry. For firms in market exchanges, exploring the examples of various strands of this work ways consumption meanings and relations see Bevir and Trentman (2004), Callon are conveyed in various traditional and (1998), Im and Workman (2004), Workman on-line media, market artifacts, and (1993), Peñaloza (2000), McAlexander, marketplace sites, and utilized in the Schouten, and Koenig (2002), Hefner (1998), production of identity and community. Such Dunn (2004), Sherry (1998), McCracken identity and community in consumption (2005), Schau, Muñiz, and Arnould and markets closely parallel the production (forthcoming). of identity and the transfer of meaning and vision deemed ontological understanding 28 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

Slater and Tonkiss (2001) coin the term information processing, and emotion in market society to emphasize that social a psychological sense that is accessed life is increasingly mediated by marketing in laboratory experiments, scanner data practices and institutions. Conversely, there reports, and quantitative market models. is an accompanying sense in which social phenomena increasingly impinge upon To continue, also notable in the cultural market activities. For example, Thompson, approach is historical perioditicization Rindfleisch, and Arsel (2006) detail the (Firat and Venkatesh 1995). Important are ways consumers denounced the coffee epochal patterns and transformations in chain Starbucks as an emblem of mass consumption and market logics addressed scale, unsustainable business practices, and broadly under the rubrics of modernity and note that such consumer resistance is post-modernity (Appadurai 1996; Lyotard an important feedback and accountability 1984; Jameson 1994). Such work notes the mechanism. The increasingly intense increasing incredulity of master narratives, and immediate inter-relations between even as one, that of free enterprise and producers and consumers have the capital as emancipative continues to gain potential to reproduce on a mass scale momentum. The study of the ideology of those experimental forms of the Arts and the market, its belief systems, practices, Crafts, Art Nouveau and Mingei movements and institutions, raises perplexing questions discussed previously. Indeed, parallels may pertaining to practical intervention be found in the weaving of community for sustainable market development, meanings into product artifacts to specifically, and as an important arena for embellish such meaning, foster awareness, more general philosophical examination identity, and connection among community (Žižek 1994). Here we preview a poetic member/consumers buying and using the efficacy of consumption akin to that in artifacts, support financially the artist/ art previously detailed, that potentially producers, and develop the community. generates insight into the potentiel ways consumption and market actors work Featured prominently among the to inculcate their meanings into socio- qualitative, interpretive methods utilized in economic systems. Such micro (individual) cultural consumption and market research practices complement the more macro are: semiotics, literary criticism, discourse efforts of Sen (1999) at the level of analysis, and practice theory as scholars the nation-state to temper measures of document the substantive themes, patterns social development so long dominated of practices, and organizing principles by economic criteria, such as per capita through which consumption and markets GNP and diffusion of consumer products, are intelligible and that constitute people and factor in social and environmental as consuming and marketing subjects concerns. (Peñaloza, Valtonen, and Moisander 2009; Sherry 1995). Its interdisciplinary roots are Important is situating consumption and evident in strands of social theory that build markets in relation to the growth of upon the work of Marx, Simmel, Weber, de the culture industries. The convergence Saussure, Mauss, Levi-Strauss, and Sahlins, of technology; flows of capital, products to name but a few. We further distinguish and people; and media and corporate the emphasis on the study of discourses consolidation is bringing about the global and practices of consumption and markets village McLuhan and Fiore (1968) and in artifacts, texts, and field sites from Toffler (1981) only imagined. Facebook, other approaches emphasizing choice in eBay, Twilight, Picasso auctions at Christie’s, an economic sense, and decision making, and mega government bailouts of banks 29 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

and financial crisis serve as the medium years arts auctions have commanded and substantive form of contemporary spectacular prices. Picasso's Boy with a Pipe consumption and markets. By pulling sold for $104.1 million in 2004 (Hirschkorn people’s personal networks online and into 2004), topped by Giacometti’s sculpture, marketing databases globally, Facebook has Walking Man I, which went for $104.3 upped the ante for rags-to-riches stories million in 2010 (Vogel 2010). Featured in of generating tremendous wealth, dubbed the news, these art auctions fan millions the Horatio Alger myth in the United States of contemporary pilgrims globally to visit for the famed novelist of the mid 1800s. museums to view the works, and yet At the same time eBay brings together the separation of art from commerce is buyers and sellers for the most mundane demanded by Kant’s “disinterested” sense to the most specialized items in ways that of aesthetic beauty. As elaborated in his offer a high-tech version of traditional classic work, the Critique of Judgment, bazaars with their uncertain financial gain/ Kant distinguished aesthetic value, beauty, loss, participation, entertainment, and specifically, from the personal interests of diversity that contrasts with the control, the viewer and the financial worth of the efficiency, and standardization of more object in market circulation, as both were conventional marketplaces (Ahuvia and seen to compromise aesthetic value. Bilgin forthcoming). Confronted with the dramatic growth In the emerging social media Facebook of the culture industries globally, the consumers position themselves in relation cross-fertilization of art and marketing to other consumers, firms, and products, techniques, and the “democratic” diffusion although it would be a mistake to place of consumption into larger segments of market phenomena at the center of the global population even as alarming people’s lives. Important is how they use numbers are left behind, we question products and services to formulate personal whether such disinterest remains possible, identity and relations with others. At the even desirable, even as we appreciate its same time using these consumption and promise in comprehending contemporary market technologies “formulates” people,” market systems as is necessary in in the real-time incorporation of their accomplishing more sustainable market identity and social formations in market development. Of interest is how, when, and development. In turn, firms, political whether the globalization of markets and parties, and activists alike scramble to the industrialization of culture may serve comprehend these social networks in order to foster a sense of aesthetic beauty and to reinscribe their offerings, issues, and pleasure in ways that stimulate ontological positions into alignment with the social concern for human life and development, or and thematic coordinates of these social whether such spectacularization becomes groups. Blockbuster films, such as Avatar the end in itself, focused on market or and Twilight, and popular music, such as personal priorities in ways that subordinate that by the Beatles, Michael Jackson, and social and environmental sustainability as Jay-Z, foster a collective vocabulary, set of secondary to economic accomplishments. heroes/heroines, and allegorical storylines, the scale of which took sacred religious texts, such as the I Ching, Rig Veda, Bible, Agency and Qur’an centuries to assemble. The cultural approach explores the agency of consumers, as they actively employ Art and arts institutions are an important consumption artifacts and experiences in part of the culture industries. In recent assembling meanings in their lives and 30 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability forging relations with others. Akin to the to the social habitus, to be incorporated goals of founders and artists of the Arts and into markets in ways that manifest a more Crafts, Bauhaus, and Mingei movements, connected, organic, sustainable future. although seldom directly related, such Already such Internet sites14 connect meaning making in consumption is at consumers and organizations dedicated times a collective enterprise in families to sustainability in ways not unlike the (Miller 1998) and communities (Holland poetic efficacy of art, sharing and building et al. 2001), and it serves as the basis for that Heideggerian sense of being-in-the- cultural memory as well (Peñaloza 2001). world that inculcate sustainable meanings The dramatic intensity and connection and practices of social and environmental with which consuming communities form connection, beauty, and pleasure in around brands (Schau et al. forthcoming) consumption and in markets. and pop cultural stars and programs, such as music, film, and television shows We continue in making parallels between (Kozinets 2001) are ubiquitous examples. the positioning of persons in consumption with that accomplished in art as captured Bourdieu’s (1993, 1984) work on tastes is in Jacques Rancière’s concept of “aesthetic noteworthy for stimulating further work efficacy.” Like art, consumption and emphasizing the way consumption stems markets may be seen to have reality from and reproduces social distinctions. effects that position people in time, space, He distinguished three types of capital: and with others as part of a collective social capital, which refers to skills and humanity. Indeed, there is a sense in which knowledge related to social relations consumers manipulate objects for social and networks; economic capital, which ends. Illustrative in literature is Diderot's refers to skills and knowledge more use of an article of clothing to convey directly valued financially, such as that the transfer of sentiments of attachment in planning investments, and mastering and emotion in Rameau’s Nephew. The financial vocabulary, credentials, and protagonist learns of a clever trick in which manners of dress that assist in navigating the owner of a dog transfers its attachments job placement; and cultural capital, to him to another person whom the dog which refers to particular combinations feared. Over a period of a few days, with of skills and knowledge that together some harsh treatment of the dog by the with economic and social capital serve as owner wearing his regular clothes, and with the basis of distinct, hierarchical social some affection and reward to the dog by configurations referred to as habitus. the owner while wearing the robe of the Together, these forms of capital become feared Keeper of the Seals, the dog learns the basis for discrimination in society in to transfer his attachment to the wearer of the consumption “choices” that people the robe, finally, the other person, the feared make in clothing, leisure activities, and Keeper of the Seals. This passage reiterates living arrangements that are comfortable the magical prowess of consumption, as and that align them with, and separate using the clothing helps enable the owner them from, others (Holt 1997, 1998). to access and transfer the sentiments of another. The poetic account at the same It is not so difficult to imagine a scenario time foreshadows the appreciation for in which sustainable development concerns what may be gained from the manipulation grow in importance and scope to form of others through consumption, in matter- “sustainable development capital.” The of-factly proclaiming the marvel of the knowledge and skills that foster the poetic story throughout Europe, especially among efficacy of consumption may manifest akin courtiers. 31 14 - http://www.greenamericatoday.org/cabn/, http://www.sierraclub.org/sustainable_consumption/toolkit/ 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

And yet there is another sense, more importance of practices in sustainable subtle, in which consumers and marketers market development, arguing that are caught up in the worlds they fashion. examining the minutia of consumers’ McCracken (1988) invokes Diderot’s classic daily activities yield important insights Regrets on Parting with My Old Dressing overlooked by traditional market and Gown, in which the protagonist blames consumer research approaches emphasizing an elegant dressing gown for the gradual individual decisions and beliefs (see Cotte overhaul of his study from cluttered and and Trudell 2009 for a comprehensive comfortable to ordered and oppressive. review of traditional approaches to McCracken uses this passage to illustrate sustainability). In unpacking these the power of acquired market artifacts to insights Shove emphasizes that practices elicit action in which consumers transform as collective, cultural phenomena display themselves and their environment. The a logic that imposes itself on consumers magic in such consumption and markets as they are caught up in reproducing harkens us back to the memory cabinets standards of cleanliness, comfort, and mentioned earlier, and points to the convenience. In this sense, then, the importance of the categories and principles logic of practices pushes attention first inherent in people’s homes, in stores, and to functional sets of activities, then to other consumption arrays. accompanying sensibilities that consumers use to express competence and to establish Notably, consumers are acted upon almost identity and relations with others, and magically by sets of practices as well. ultimately to the incorporation of these Reckwitz (2002) and Warde (2005) use the practices by consumers as impositions on term practice to refer to the ritualized themselves. activities that command conformity in dress, accoutrements, and comportment. It is also important to acknowledge Examples include recreation, in learning the myriad ways in which consumers to ski, which requires the proper dress and are acted upon by firms, market actors, equipment; and cooking in the case of the and marketing techniques and artifacts, growing “foodie” phenomenon, whereby such as advertisements (Williamson elaborate tastes in foods are acquired, 1994), focus groups (Dávila 2001), and complete with recipes, cooking and eating databases (Zwick and Dholakia 2006). techniques, and equipment, such as pans, Regarding advertisements, Ewen (1988) utensils, and dishware. Important is the directs attention to the importance of sensibility that necessarily accompanies representation and circulation of images these practices, as the assimilation of in understanding consumption as a culture being able to discern among activities in itself. Regarding databases, Zwick is an important part of mastering the and Dholakia (2006) address the ways practices. The practice of making coffee databases configure subjects in particular figures prominently in the market success ways in detailing consumption patterns of Nespresso, as further propelled by the per specific socio-demographic and good looks and box-office appeal of the psychological characteristics that have celebrity endorser, George Clooney. “reality effects” in narrowing conceptions of consumers to social strata and targets. This consumer sensibility taps an Such marketing techniques are specific important aspect of the poetic efficacy cases of the more general application of consumption, even as we question the of science by firms as the technological limits of consumer agency in sustainable means of rationalization (Latour 1987). consumption. Shove (2003) elaborates the 32 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

Symbol systems together by diligent meditation may be Baudrillard’s prolific work on consumption expressed by certain corporeal signs in and markets has stimulated much subsequent such a way that the beholder may at research. The System of Objects (1996) once perceive with his eyes everything analyzes in depth the inter-referential play that is otherwise hidden in the depths of signs and artifacts in conveying meaning of the human mind. And it is because of in relation to other signs and artifacts. this corporeal looking that he calls it a In Simulacra and Simulations (1994) he theater. (Vigilius Zuichemus writing to shifts attention to the vantage point of Erasmus, quoted in Yates 1966, 132) the object and its universe of signs, as means of understanding that is infinitely By the late sixteenth century and through deferred within an indeterminate system. In the seventeenth century material collecting Consumer Society (1998) Baudrillard notes and documentation gain prominence, that in the world of the simulacra, product as evident in Sir Francis Bacon’s text, images act as mnemonic devices akin to the Gesta Grayorum, which refers to the the memory cabinets of the Renaissance manner of looking, and by proxy knowing centuries. Their magic operates in the assembled in the garden and cabinet, and correspondence between the plane of the as evident in early museum collections signs’ imagined possibilities and those such as the Repository of the Royal Society ascribed to desire, with material reality (Hooper-Greenhill 1992). Foucault (1970) paling in comparison. While his later works writes at length on the social order that took nihilistic and morbid turns, such evolves as material classification becomes that only in death could one escape the more abstract. Rather than merely binding demands of the market, we seek to ordering things by classifying them, these elaborate its life-affirming activities and classification systems serve as the means potential. through which the mind imposes an order upon material objects and environments. The Renaissance cabinets have been cited as This is exemplified in the ways catalogues a precursor to the modern museum (Impey guide seeing objects and places as well and MacGregor 1985). Important for our as knowing them. Central to the thesis of purposes is illustrating parallel aspects of Hooper-Greenhill (1992) is that knowledge contemporary consumption. These private is the commodity offered by arts institutions cabinets of curiosities were assembled by and that they constitute this knowledge in royals and nobles as an early means of the way they classify, order, and frame knowing the world, knowing themselves, collections. and conducting their personal lives and political activities. Yates (1966) cites one Turning to consumption, Belk (1995) of the earliest examples, Giulio Camillo’s analyzes collections of consumption theatrum mundi, a memory theater, a artifacts such as Wheaties cereal boxes mnemonic tool to know and apprehend the and Barbie dolls in parallel ways as means world and ways of being in it. of self-knowledge, expressions of personal character, and manners of relating to the He calls this theatre of his by many world . Retail shops and websites may be names, saying now that it is a built or analyzed for the knowledge they draw constructed mind and soul, and now from and impart upon consumers as well. that it is a windowed one. He pretends Viewed in this way, categories of that all things that the human mind can merchandise may be seen to “order” ways of conceive and which we cannot see with consuming and being a consumer relevant the corporeal eye, after being collected to sustainability in drawing out more 33 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

explicitly such issues as connectedness to, people enact and manifest meaning and or separation from the environment and ways of being in these varied sites. others. Turning again to art, we note that, in their lifetimes, artists such as Cezanne, Context and dynamism Gauguin, and Van Gogh faced a market Consumption emerges in context. In this for their work much different from that sense the marketplace operates in ways which they would face now. Herrnstein- akin to Camillo’s memory theater. This Smith (1991) has argued compellingly is most evident at theme parks (Project that the value of aesthetic works is on Disney 1995), yet such theming is contingent, in specifying variability and pervasive in neighborhoods, malls, and process that brings forward dynamic stores as well (Gottdeiner 2001). Theming and disjunctive features of consumption is perhaps less obvious, although equally and markets not addressed within the present and purposive in such marketplace universalizing frameworks of some art sites as trade shows (Peñaloza 2000), critics and economists. Taking the case of including the famous Salon International Shakespeare’s sonnets, Herrnstein-Smith de l’Agriculture, and the Salon International opens the way for a more critical theory of de l’Alimentation, and art fairs such consumption aesthetics, in untangling the as Paris’s FIAC, Armory Show, and Art contingencies of market exchanges with Basel.15 valuation in other social domains, such as auctions and art criticism. In drawing from Notable in these contexts are the ways her work, we note that such contingencies consumers and marketers perform and of value parallel the contingencies of articulate meanings and socio-economic meaning theorized in CCT as recounted formations in positioning themselves in above, and points to such contingencies relation to consumer products, producers, in art and consumption as they intersect firms, suppliers, and other consumers. De and diverge in various social and market Certeau’s (1984) term, pedestrian speech domains. acts emphasizes the spatial enunciation of meanings produced by people as they walk. We emphasize that such meaning- Aesthetics producing activities are enacted in Venkatesh and Meamber (2008) provide movement as a form of dialogue and a useful overview of aesthetics in interaction with marketplaces, their consumption, pointing to differences material contents, and other persons between intrinsic and instrumental value there in ways that potentially mobilize a and exploring the compromising role of sustainable sensibility. interests. In this sense aesthetic works are valued in and of themselves, apart from Consumption meaning making displays any functional use or market value. The remarkable movement and dynamism. In authors acknowledge persistent distinctions her book, Emmanuelle Lallement (2010) between the arts and commerce, referring details changes in a Parisian suburb, while to Kant’s notion of “disinterest,” even Peñaloza (2007) details such changes in a as they note that these distinctions neighborhood in Southern California, and are increasingly blurred as the cultural Sherry, Heisley, and McGrath (1991) track industries develop, as artists and museums changes over a year at a farmers’ market. employ marketing techniques, as firms The cultural approach locates intelligibility employ artistic techniques in marketing in such movement and dynamism as campaigns, and as consumers integrate 34 15 - http://www.salon-griculture.com/ExposiumCms/do/admin/visu?reqCode=accueil http://www.sial.fr/ExposiumCms/do/admin/visu?reqCode=accueil 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability aesthetic objects and ways of being into and environments, such as the home, their lives. In characterizing consumers is a central aspect of a consumption as aesthetic subjects, they proceed to experience (62) detail the mix of sensory pleasure, beauty, emotion, reflective contemplation, and A later passage points to further variability taste formation through which consumers across persons and situations. In the integrate aesthetic practices into their passage below the authors contrast Sally’s everyday consumption. The authors use the views with those of Richard, for whom “art passage below by Sally to show how her is neither a preoccupation nor a diversion” consumption is governed by her personal (62), but rather is compartmentalized as aesthetic tastes, by those around her, and a mode of art appreciation, apart from by her environment. work.

“Oh yes. I like to buy things that look “I do think that I separate art. I have nice. For example, I recently bought a modes … you could have a really nice new coffeemaker and I chose one that painting in this office and I would not had a nice, modern design. It was more see it unless I am in art appreciation expensive than a regular coffee maker mode. … The arts in general, don’t jump that was white and plain looking, but out at me, like with a lot of people…On I thought I would enjoy making coffee the other hand, with music, it is more more if I had the nice, black and grey, likely to happen with popular music, a fun-looking coffee maker … well, I guess song will come on the radio and I will if I’m having company over, I guess then stop and listen. In general…if I am in I might care about things like the look work mode then no. (62) of the dishes I serve on, the quality of the ingredients of the food I serve The separation of more/fewer artistic … for example, I might buy produce genres and domains poses a challenge in from the health foods store, because mobilizing the poetic efficacy in everyday it looks and tastes fresher than what consumption and markets for sustainability. you get in a regular store… Appearance And yet, as we have mentioned earlier, becomes more important than when the lines between art and commerce are it’s just me and my husband. But, the steadily blurring. In another example of coffee maker makes me feel happy. My this blur, Schroeder (2005a) notes that the husband thinks all coffee makers are the use of visual imagery in advertisements is same. But I wanted the one that looked analogous to that in the visual arts, and calls nice because I’m the one who makes the for more visual studies of consumption in coffee in the morning.” (Venkatesh and better understanding how advertisements Meamber 2008, 58) configure consumers in a particular sense to desire objects and buy, by juxtaposing The authors elaborate social and situational idealized images of well known people contingencies in consumption aesthetics, with products, by depicting products as “If she (Sally) is with her husband only, appropriate to various situations and as she is willing to relax her aesthetic solutions to problems, and by reproducing standards. Her aesthetic experience popular myths and storylines. is distinct from that of her husband. She puts a premium on appearance, and In a subsequent work Schroeder this extends to objects (e.g., shoes and (2005b) examines in depth the careers appliances) as well as spaces in the home. of Andy Warhol, Barbara Krueger, and Sally confirms that the aesthetics of space Cindy Sherman, pointing to their deft 35 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

maneuverings with cultural signs and (material) and operant (intangible, skills symbol systems. For him, “Successful and knowledge) resources among multiple artists can be thought of as brand actors (consumers, firms, financial managers, actively engaged in developing, stockholders, and other stakeholders, nurturing, and promoting themselves as such as government and citizens) in ways recognizable “products” in the competitive that together co-create value (Arnould, cultural sphere. However, the intellectual, Price, and Malshe 2006; Lusch and Vargo disciplinary, and semiotic separation of art 2006; Vargo and Lusch 2004) in markets and business has obscured the potential of construed as larger social systems (Layton studying the art market as an exemplar of 2007; Ballantyne and Varey 2008; Vargo image-based branding.” (1292). Further, and Lusch 2008). art is “serious business. Successful artists –those that manage to have their work These scholars emphasize that firms widely exhibited, bought, and collected- offer value propositions and that value may be seen as twin engines of branding is determined phenomenologically by the knowledge, both as consummate image beneficiary in context (Vargo and Lusch managers, and as managers of their own 2008). Taking a managerial perspective, brand–the artist. Art creates enormous Payne, Storbacka, and Frow (2008) and wealth–for artists, dealers, collectors, and Grönroos (2008) point to the importance investors as well as via tourism and cultural for firms in managing value co-creation development” (1293). The currency of as they interact with multiple actors, while these artists demonstrates how strong Gummeson (2008) emphasizes the need the poetic efficacy of art can be. For us, for firms to strive for balanced centricity the strength of artists and companies in confronting marketing situations he offers tremendous potential in fostering described as many-to-many marketing. a parallel poetic efficacy of consumption and markets for more sustainable market In a follow-up piece Peñaloza and development. Mish (2008) examine the operations of sustainable businesses in light of the above tenets of work on service. Service In studying Triple Bottom Line (TBL) Work on service is useful in directing firms (i.e., those committed to social, attention to the nature and processes environmental, and economic priorities), of value co-creation among multiple the authors noted that these firms were actors. This body of work acknowledges concerned with social and environmental the conflation of social and technological costs not considered in the services work, transformations culminating in the present and considered external to the operations service and information economy (Castells of many businesses. In economics, these 1996; Poster 1990; Illeris 1996). social and environmental considerations are labeled externalities, a designator that To overview, work on service takes as externalizes their legitimate consideration its point of contrast previous research by firms. Perhaps central among the many emphasizing the development of material problematic externalities is the extraction products, their physical delivery to and appropriation of public resources, such consumers maximizing form, place, time, as land, plants, and water, deemed the and possession utilities, and economic “problem of the commons” that has been transactions in setting prices and managing recognized as a longstanding problem in flows of revenue and expenses. Featured markets (Press and Arnould 2009; Schultz instead is the integration of operand and Holbrook 1997). 36 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

Peñaloza and Mish (2008) note further employee pay ratios and between the firm that TBL firms blur boundaries between and other actors. operand and operant resources as detailed above, and between agents In studying sustainable firms, Peñaloza and domains. In treating the social and and Mish (forthcoming) elaborate three natural environment as operant resources, levels of their value co-creation with for example, these firms go beyond the consumers, suppliers, government, and more typical treatment of the natural even competitors. These levels include: environment as operand resources to be macro, cosmological principles; mezzo manipulated by firms and the more typical standards and norms; and micro, individual treatment of workers and suppliers as judgments and interpretations. First, operant resources to harness in creating macro, cosmological principles feature value for the firm. Instead, TBL firms people’s beliefs about the market, its treat social and environmental resources actors, interests, activities, etc., as reflected as agents, actively taking into account in mission statements, advertisements, their skills and limitations as partners in stories, and conversations. These principles mutual collaboration and redefining their legitimize particular courses of action, interests as central to the firm to actively while the actions serve as barometers in pursue. distinguishing sustainable firms from those merely greenwashing (that is, claiming There is another sense in which Peñaloza sustainable values, but not acting on and Mish (forthcoming) contribute to them). For example, Pete describes below work on sustainable market development. the mission statement of one of the TBL Like neoclassical economics, recent work firms, Future Friendly (a pseudonym), on service at the level of the market highlights idealized and normative aspects It’s not enough to say that we’re of resource integration in the form of concerned about having an earth that’s “offerings to benefit another party” (Vargo restored, protected and cherished for the and Lusch 2008, 26) that are “reciprocal” next few generations, but it’s about… (31). Such idealized conceptualizations what are we doing internally to move of resource integration are useful in our organization in that direction… building normative theory regarding the That vision actually has to be put into a sustainable operations of firms. However, longer-term strategy for the business… no less important is theorizing markets that we’re uniquely capable of providing. as they manifest, to include resource (Peñaloza and Mish 2008, 16) exchanges that are not reciprocal among multiple actors. Another limitation of the At times the principles require a reordering normative, idealized work on service is of economic priorities. The authors give that its accounts of resource integration the example of New Vision Bank (a do not address costs. And yet, as Peñaloza pseudonym), which placed a high value and Mish (forthcoming) explain, the social on investing in the development of the and environmental costs of extractions surrounding community, even though of resources and cultural capital and doing so tempered its profit. unbalanced exchanges are of great concern to TBL firms as they deal with Second, regarding mezzo standards, the the differential power of partners and authors detail efforts on the part of many other actors, resource extractions beyond firms to put in place industry-wide practices nature’s ability to replenish, and skewed and governmental standards. Examples distribution of resources in firm CEO/ include requirements for full disclosure of 37 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

the materials included in products, such representative and regulatory bodies, as phosphates in detergents, and for the and financial stockholders and traders processes and location of production and (see figure 1). Each hexagon represents harvest, such as for shade-grown coffee the distinct domains of key actors, as and in the case of fisheries and herb their intersections converge in markets. gathering. Another important example is We emphasize the synergies in the joint provided by Shove (2003) in detailing well production of meanings and values by entrenched cultural standards regarding these agents and highlight and how their comfort, cleanliness, and convenience joint production works to constitute people that must be addressed in advancing as consumers, with material effects on the sustainable consumption. social and natural environment.

The third level of market co-creation Hooper-Greenhill (1992) has noted that features the micro level of individual by representing the human condition, arts judgments and interpretations. All institutions have served as an important TBL firms acted to inform consumers, means of reflexive knowledge and social competitors, suppliers, and government understanding historically. Tracing the representatives of—and socialize them early art collections from the Medici to—the importance of sustainable market Palace through the Repository of the development and what they could do Royal Society and the Louvre, the author as individuals to bring it about. This documents changes over the centuries micro level is closest to service writings from pleasure and magic to experience that emphasize value as determined and heritage, and notes transformations in phenomenologically by the beneficiary patrons and social relations of power, such (Vargo and Lusch 2008). All three levels that the state joins wealthy philanthropists are distinctively important in manifesting in establishing collections of artifacts for sustainable market development and yield the viewing public. even greater synergies when they work together. Compared to most early Renaissance palaces undecorated inside and out, the Medici Palace was elaborately decorated, The Poetic sensibility of its collections of art and artifacts dazzled consumption and markets visitors, as evident below in an excerpt In this last section of the paper we from a member of the party of Galeanno pull together insights from the previous Sforza, son and heir of the ally of the sections in envisioning cultural dimensions Medici upon his visit, of sustainable market development. For us, important are negotiations of meaning and studies, chapels, salons, chambers and value by consumers, marketers, and others, garden, all of which are constructed and we emphasize that such negotiations and decorated on every side with gold are carried out in consumption and in and fine marbles, with pictures and market activity. Further, the market inlays done in perspective by the most is an important arbiter of value as an accomplished and perfect of masters institution, joined by various actors in down to the very benches and floors negotiating value and meaning within of the house; tapestries and household and across domains. Prominent actors ornaments of gold and silk; silverware include consumers in households and and bookcases that are endless without neighborhoods; employees, managers, number; then the vaults or rather and stockholders in firms; government ceilings of the chambers and salons, 38 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

which are for the most part done in chatiment, an exhibition co-organized by fine gold with diverse and various forms Robert Badinter and Jean Clair. Badinter (Alsop 1982, 366; cited in Hooper- played a key role in bringing about the Greenhill 1992, 26) abolition of the death penalty twenty-nine years ago. To see the last working guillotine Hooper-Greenhill notes a key transition amidst the collection of images of crime in the Medici Palace, financed by Cosimo and criminals of the past two centuries de Medici and designed by Michellozzo, a goes beyond presenting the fascination fifteenth-century Florentine. Its private, for violence among visual artists and secular collections altered earlier practices writers; it simulates wonder at the criminal of treasure gathering and collecting mentality and invites contemplation of classical artifacts such as sculpture, the very society that commits violence to manuscripts, and coins, and religious rid itself of the same. commissions of artworks for public display to glorify God. Instead, these private This way of seeing, knowing, and being collections glorified man, specifically we find in art extends to consumption the good taste of the patron and those figuratively and materially. Pop art who came to see, cultivating a budding instigated an explicit cross-fertilization bourgeois sensibility that will spread and by presenting commercial artifacts within democratize as detailed by Bourdieu’s art institutions. Such artwork within the (1984) in accounting for consumption museum merges with consumption outside tastes and habitus. in daily life in situating consumption artifacts as objects of contemplation, in Through the collecting together of situating consumers as contemplating expensive goods and the construction subjects, and in bringing into stark relief of elaborate spaces, a new subject the assumptions and conventions of both position emerged. Initially brought art and commerce. We can trace in art about through the possession of wealth, and in consumption an inter-evolving networks of communication, and an subjectivity, from the inner world of existing relation of superiority within Sir Francis Bacon’s library to the self- the city population, this new subject directed tours of consumers in museums, position soon became autonomous, and headphones on and connected to audio- a marker of power and knowledge in its recorder guides attached to pockets own right. (Hooper-Greenhill 24) and belts that stipulate other types of pedestrian speech acts (de Certeau 1984), Continuing to track the subject position as these museum-goers/consumers seek formed in consumption, we move to the meaning and relevance in their lives (Karp musée d’Orsay. This beacon of modernity and Levine 1991), perhaps entertainment, and progress literally was a train station. possibly even the disinterested aesthetic Transgressive in their vision of reality, the beauty Kant revered. early exhibits of impressionist art caused social outrage. Today the impressionistic Pop art brings to the fore the increasing works are the jewel of the collection, with place of commerce in social life (Le millions of visitors each year. For some, Figaro 2008). For example, Peter Blake it is a contemplative space; for others, documented the increasing incidence and a class trip, an afternoon diversion, or intervention of mass media. A central an enshrined must-see on a once-in- theme in the work of Richard Hamilton is a-lifetime trip to Paris. 2010 marks the how commercial, aestheticized artifacts museum’s most recent disruption, Crime et filter through to our very household 39 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

furnishings. Front and center in Pop Art Most important for our purposes is the way are brands, as in Jasper Johns’ Balantine arts institutions establish a collective sense Ale (1960), and Warhol’s quote below, of heritage for the state in constituting its subjects as citizens. What is great about this country is that America started the tradition where the The pure courage of the Republic richest consumers buy essentially the is celebrated both as a greater moral same things as the poorest. You can be force and also as more useful than the watching TV and see Coca-Cola, and you power of the inherited wealth of the know that the President drinks Coke, Liz overturned sovereign. “Museums” are seen Taylor drinks Coke and just think, you as apparatuses for public rather than can drink Coke too. A Coke is a Coke private consumption. The education of the and no amount of money can get you population through “museums” emerged a better Coke than the one the bum as a new form of population management, on the corner is drinking. All Cokes are targeted at the collective good of the state the same and all the Cokes are good. rather than for the benefit of individual Liz Taylor knows it, the President knows knowledge. The “museum” was to be used it, the bum knows it and you know it. to support the Republic by offering an (1975) opportunity to all citizens to share in what would previously have become the private At a more general level, the infusion of possessions of the king (Hooper-Greenhill consumption artifacts in artwork converges 1992, 174). with the incorporation of aesthetic works by consumers, the increasing use In comparison, public heritage more of aesthetic techniques and designs by directly grounded in consumption and marketers in product development and markets may be seen in the popular promotion, and the increased development culture exhibit at the Smithsonian in the of the cultural industries in contributing to United States. Its displays of the ruby red the aestheticization of personal and social slippers worn by actress Judy Garland life (Venkatesh and Meamber 2008). in the film, Wizard of Oz (acquired in 1939), the yellow guitar of the musical artist Prince (acquired in 1989), and the Heritage lunch counter at Woolworth’s Retail Store, Hooper-Greenhill (1992) further traces where civil rights activists were refused the development of national heritage, service in 1906 (acquired in 1993) embed using a case study of the development of these commercial icons within the national the Louvre museum in France in the late imaginary and provide a collective sense of eighteenth century. Here riches confiscated national heritage and legacy. These items during the Revolution were deposited in are exhibited in the National Museum of secularized convents and later assembled American History, one of the nineteen in the service of the state, in a marked museums of the Smithsonian. The other contrast from the private collections of collections feature arts, natural history, the Medici. Hooper-Greenhill notes the and people, such as Native Americans.16 establishment of professionals, curators, restorers, and cataloguers to animate special collections to celebrate current Art~Consumption: cultural events, such as Napoleon’s birthday, and process and product even to generate support for military When the world is pictured, the world exists battles, such as the invasion of England. as a view (Heidegger). That view presumes 40 16 - http://www.smithsonianlegacies.si.edu/category.cfm?category=Popular%20Culture%20Memorabilia 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability a viewer, in the sense that consumption Architectural design serves to builds and markets structure and reflect their perspective and situate people in relation subjects. To the degree that consumption to the building, its owners, and the display artifacts presume a set of discourses and of artifacts. practices, and in turn a consumer, these cultural forms may be examined for the Curators and critics play a key role as well. way they construct subjects (Holland et Critic and painter Richard Fry coined the al. 2001). We have traced the early roots term post-impressionism in attempting to of the contemporary consuming subject annihilate the divisions between fine and position and its many metamorphoses decorative arts in articulating the feminist, as firms make increasingly available pacifist, expressive ethic that oriented “dazzling” consumption objects. Likewise, the creative philosophical, artistic, and the bazaars with their exotic items (Frayn commercial ventures of the Bloomsbury 1993) transform into department stores group. (Miller 1998) and internet sites (Ahuvia and Bilgin forthcoming). We observe that detaching consumption objects from their context and bringing Indeed, the vantage points in Auchan, them into another serves to aestheticize Decathlon, and Nature & Découvertes them, as in the case of Pop Art in bringing foster subject positions in ways analogous consumption objects into the museum. In to art institutions that command further parallel ways retail stores, malls, and housing exploration for their roles in potentially complexes can foster contemplation by fostering sustainable market development. mirroring and objectifying the ways in While critics such as Haacke (1984) which consumption operates within the focus on the consciousness constituted human condition such that we are able to in museums, we extend the production see and know it in relation to ourselves. of subjectivity and consciousness to Denzin (1995) turns this exteriorization consumers in markets. Museum galleries inward, in detailing the cinematographic of wondrous artifacts and architecture gaze through which people view their do not in and of themselves necessarily lives as seen by others through a camera promote consciousness and self-reflective lens. For him, consumption objects and knowledge. This is accomplished in venues serve as props in internalizing the the distinct discourses and practices gaze of the other. For us, this spectacular constituting their material contents, accomplishment holds potential for architecture, and subjects. sustainable market development as consumers view their practices reflexively, To elaborate, the critics who mediate that is, as situated within the social and the works and debate their significance natural environment. with others, the artists in articulating their vision, and the patrons and sponsors in providing resources all engage in Institutions fostering important dialogue. The elegant photos sustainable heritage of Yann Arthus-Bertrand stir wonder and We have discussed the importance of delight at the amazing beauty of the earth multiple actors in the co-creation of as a living entity, its wondrous spectra of meaning and value in consumption and colors and diverse forms and its grandeur in markets. As evident below in the posit humans as a miniscule and yet excerpt from the website of the Warhol formidable force. Museum, one of four Carnegie Museums of Pittsburgh, businesses are accorded tax 41 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

privileges by the state in exchange for Turning to markets, we note an array their contributions: of institutional domains, each of which commands an integral role in sustainable strategic philanthropy by allowing market development (see again figure companies to distribute their tax dollars 1). While we have focused on consumers to organizations that support the and firms, as vital is the involvement important work of our public and private of governmental bodies and financial schools through creative programming. markets. Governments have particular Thanks to the EITC program, a two-year sustainability challenges in regulating commitment of equal funding to an markets, while partnering with firms in education program at Carnegie Museums generating jobs and economic growth. can earn your company a business credit Their ecological, labor, and social of 90% against the taxes you owe; and standards play a vital role in sustainability. a one-year commitment will earn you a Financial markets have begun to value tax credit of 75%. And because you can social and environmental development. also claim the donation as a charitable In 1999 the Dow Jones Sustainability contribution, the tax savings may, in Index was launched.17 In all of these ways effect, equal or exceed 100% based on consumption and markets can operate its tax obligation. Learn more about as cultural entrepreneurs, in bringing the EITC program, or contact Carnegie together various actors, discourses, and Museums Corporate and Foundation practices in accomplishing sustainable Giving at 412.578.2469. development.

Taking a further lesson from the Utopian? Undoubtedly. But like the splendid reappropriation of objets d’art and space memory cabinets and the spectacular in accomplishing a sense of shared wealth, organic systems of the Na’vi tribe in public good, and citizenry at the Louvre, James Cameron’s Avatar, consumption and we imagine a parallel accomplishment markets channel powerful, imaginative, of heritage pertaining to the social and creative forces. The tragedy of the commons natural environment in achieving more (Schultz and Holbrook 1997) transforms sustainable market development. The into triumph when consumers, firms, collective sense of heritage may provide governments, and financial markets join part of the constructive solution to the in co-creating more sustainable market “problem of the commons,” as its collective development. valuation may help safeguard public lands and other resources threatened by private extraction. Conclusion We return to the vanishing point. How Stevenson (2002) breaches the matter of an artist replicates reality utilizing color citizenship to the domain of consumption on a two-dimensional space to somehow in mobilizing this important grouping of render intelligible a correspondence to social rights and obligations in tackling a three-dimensional space provides a ecological goals. His vision of cosmopolitan metaphoric schema for exploring how citizenship forges transnational alliances consumers and markets move between and bypasses national geographical and fantastical worlds of desire, image, financial limitations as appropriate in representation, and experience. dealing with the increasingly global diaspora of commerce and environmental Both market and museum may be seen at impact. a crossroads. We have drawn comparisons 42 17 - http://www.sustainability-index.com/ 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability between art and consumption as ways The idea is no more to call on art to guide of knowing in encouraging avenues of the world than it is, as Hegel or Mallarmé practice and further research fostering suggested, to raise it to a religion. That subjectivity and consciousness for idea had its day in the modernities of the sustainable market development. nineteenth and twentieth centuries. It did Such work asks that we make sense of not prevent the tragic events of history, ourselves and our relations with each and it did not prevent art from taking part other and with the natural world at a in them. time when such sense is difficult to make. It demands courage to imagine beauty, to It will never be possible to liken art imagine a future, a co-creation connected to a political program for sustainable and organic, attuned to social diversity development. Its poetic efficacy must, and sustainability amidst the financial all the same, serve as a guide to thought crisis, the continuing wars in Iraq and on the matter, and it should be a part of Afghanistan, the mega bank bailouts by decisions and concrete realizations. governments, and bursting real estate bubbles and upside-down mortgages. We might like for it to be the minds enlightened by the poetic efficacy of art Art and consumption can serve as and aware of its importance that imagine guide and means in revisioning the future consumer goods. That reflect on participation, the co-creation that ushers their influence on people’s modes of in the next generation of hybrid, visionary consumption and on the responsibility institutions, working in conjunction with that accompanies this influence. contemplative, sustainable, consumer citizens and with employees and managers in firms that explicitly factor social and environmental considerations into their economic value calculations in ways similar to those of the TBL firms Peñaloza and Mish (2008) examined. These principles are just as relevant to artists and museums as they are to consumers, firms, stockholders, and managers in markets.

Christofle & Cie, Decorated Dish, circa 1896, silvery metal Portrait of the Artist. Fall 1987. It ©Photo RMN (musée d'Orsay) — René-Gabriel Ojéda is not a utopia; instead, we seek to understand that we cannot call ourselves We might like city planning decisions and human, that we are not alive, if we architectural programs to incorporate the do not entertain a constant dialogue riches or art. We have shown the way with the art that gives us the shifting the poetic efficacy of art has been used meaning of these words: human, life. throughout history. We most bolster the We cannot claim to think sustainable use of it, imagine new possibilities for development and to make enlightened it. Design and technique must remain and sensible decisions if we forget what attentive to it. In all these fields, scientific is encompassed by the very essence of research should both offer and account those terms now, unfortunately, so widely for new perspectives. bandied about, and if we forget what guides them.

43

29 - Alsop, 1982., p. 366, cité par Hooper-Greenhill 1992, p. 26 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability

Claude Monet, London, Parliament. Sun through the Fog, 1904, oil on canvas. ©Photo RMN (musée d'Orsay) — Hervé Lewandowski

The role of art in sustainable development should lead to examination of the place artists and their work are accorded in civil society. Adolphe Alphand, Project for the Wrought Iron Aerial Well in Passy, 1857, watercolor and white gouache. ©Photo RMN (musée d'Orsay) — René-Gabriel Ojéda It also calls for increasing the role played by museum-like institutions (or all cultural We ask researchers to continue attempting institutions). To the missions they are to bring closer together this poetic assigned by law: knowledge, education, efficacy of art and economic, social, public enjoyment (sometimes referred to and environmental theories and policies. as déléctation) (ICOM 2010),18 must be Mindful of constructing meaning, we added that of development, development must delve further into the sociological that, here, can be considered “societal.” It and historical issues brought up by art. is in this sense that ICOM (2010) defined May the production of meaning also the museum as an institution “for society go on being the operative word in the and for its development.” Likewise, the dialogue of cultures, at the intersection of code of ethics for French museum curators anthropology and art history. stipulates that “the curator […] with a view to sustainable development and local This consolidation of the role of culture planning, […] shall create the academic should also give businesses an incentive and cultural plan for museums and make to take this parameter into account all existing or planned partnerships a part in their strategies and actions for of this plan.”19 sustainable development, and this both to influence their means of working and In our society that is suffering a crisis their production and to guide them in that seems above all to be a crisis of the commitments they make, through meaning, it is necessary to signify and to patronage, for example, to civil society. put concretely into place, more clearly still, the responsibility a museum, as part Personal edification and edification of of society, should take on. In addition to society cannot do without the light of the ends of wonder and knowledge, this culture. responsibility should enable to people to think themselves, to situate themselves in 44 18 - International Council of Museums (ICOM). For articles of foundation, definition of terms, see: http://icom.museum/statutes_fr.html 19 - Circular n°2007/007 of 26 April 2007 bearing the Code of Ethics for Conservators of Cultural Heritage (in application of Article L.442-8 of French legislation on cultural heritage. 3. Harnessing Cultural Sensibilities in Consumption and Markets for Sustainability the world, and to reflect on the modes of development they are expecting of their generation and future generations.

In creating a workshop, which brings together a variety of partners, on culture and sustainable development, the musée d’Orsay sought to lay the foundations in this sense, to foster research and convey knowledge as well as to show and recommend concrete realizations.

45 Appendix

Diagram 1: Market Exchange and Use Value Domains

Financial Market Use Value

Stockholders

“Market” Consumer Use Value Firm Market Exchange Value Identity Communityn Use Value Org. Culture Mission, Objectives

Government Use Value Governance

Public Policy

Source: Peñaloza and Mish 2008

46 References

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54 EDHEC Position Papers and Publications (2008-2010)

EDHEC-Risk Institute 2010 Publications • Amenc, N., S. Sender. Are hedge-fund UCITS the cure-all? (March) • Amenc, N., F. Goltz and A. Grigoriu. Risk control through dynamic core-satellite portfolios of ETFs: Applications to absolute return funds and tactical asset allocation (January). • Amenc, N., F. Goltz and P. Retkowsky. Efficient indexation: An alternative to cap-weighted indices (January). • Goltz, F., and V. Le Sourd. Does finance theory make the case for capitalisation-weighted indexing? (January).

2010 Position Papers • Amenc, N., P. Schoeffler and P. Lasserre. Organisation optimale de la liquidité des fonds d’investissement (March). • Lioui, A. Spillover effects of conter-cyclical market regulation: evidence from the 2008 ban on short sales (March).

2009 Publications • Sender, S. Reactions to an EDHEC study on the impact of regulatory constraints on the ALM of pension funds (October). • Amenc, N., L. Martellini, V. Milhau and V. Ziemann. Asset-liability management in private wealth management (September). • Amenc, N., F. Goltz, A. Grigoriu and D. Schroeder. The EDHEC European ETF survey (May). • Sender, S. The European pension fund industry again beset by deficits (May). • Martellini, L., and V. Milhau. Measuring the benefits of dynamic asset allocation strategies in the presence of liability constraints (March). • Le Sourd, V. Hedge fund performance in 2008 (February). • La gestion indicielle dans l'immobilier et l'indice EDHEC IEIF Immobilier d'Entreprise France (February). • Real estate indexing and the EDHEC IEIF Commercial Property (France) Index (February). • Amenc, N., L. Martellini and S. Sender. Impact of regulations on the ALM of European pension funds (January). • Goltz, F. A long road ahead for portfolio construction: Practitioners' views of an EDHEC survey. (January).

2009 Position Papers • Till, H. Has there been excessive speculation in the US oil futures markets? (November). • Amenc, N., and S. Sender. A welcome European Commission consultation on the UCITS depositary function, a hastily considered proposal (September). • Sender, S. IAS 19: Penalising changes ahead (September). • Amenc, N. Quelques réflexions sur la régulation de la gestion d'actifs (June). • Giraud, J.-R. MiFID: One year on (May). • Lioui, A. The undesirable effects of banning short sales (April). • Gregoriou, G., and F.-S. Lhabitant. Madoff: A riot of red flags (January). 55 EDHEC Position Papers and Publications (2008-2010)

2008 Publications • Amenc, N., L. Martellini and V. Ziemann. Alternative investments for institutional investors: Risk budgeting techniques in asset management and asset-liability management (December). • Goltz, F., and D. Schroeder. Hedge fund reporting survey (November). • D’Hondt, C., and J.-R. Giraud. Transaction cost analysis A-Z: A step towards best execution in the post-MiFID landscape (November). • Amenc, N., and D. Schroeder. The pros and cons of passive hedge fund replication (October). • Amenc, N., F. Goltz and D. Schroeder. Reactions to an EDHEC study on asset-liability management decisions in wealth management (September). • Amenc, N., F. Goltz, A. Grigoriu, V. Le Sourd and L. Martellini. The EDHEC European ETF survey 2008 (June). • Amenc, N., F. Goltz and V. Le Sourd. Fundamental differences? Comparing alternative index weighting mechanisms (April). • Le Sourd, V. Hedge fund performance in 2007 (February). • Amenc, N., F. Goltz, V. Le Sourd and L. Martellini. The EDHEC European investment practices survey 2008 (January).

2008 Position Papers • Amenc, N., and S. Sender. Assessing the European banking sector bailout plans (December). • Amenc, N., and S. Sender. Les mesures de recapitalisation et de soutien à la liquidité du secteur bancaire européen (December). • Amenc, N., F. Ducoulombier and P. Foulquier. Reactions to an EDHEC study on the fair value controversy (December). Avec l'EDHEC Financial Analysis and Accounting Research Centre. • Amenc, N., F. Ducoulombier and P. Foulquier. Réactions après l’étude. Juste valeur ou non : un débat mal posé (December). Avec l'EDHEC Financial Analysis and Accounting Research Centre. • Amenc, N., and V. Le Sourd. Les performances de l’investissement socialement responsable en France (December). • Amenc, N., and V. Le Sourd. Socially responsible investment performance in France (December). • Amenc, N., B. Maffei and H. Till. Les causes structurelles du troisième choc pétrolier (November). • Amenc, N., B. Maffei and H. Till. Oil prices: The true role of speculation (November). • Sender, S. Banking: Why does regulation alone not suffice? Why must governments intervene? (November). • Till, H. The oil markets: Let the data speak for itself (October). • Amenc, N., F. Goltz and V. Le Sourd. A comparison of fundamentally weighted indices: Overview and performance analysis (March). • Sender, S. QIS4: Significant improvements, but the main risk for life insurance is not taken into account in the standard formula (February). Avec l'EDHEC Financial Analysis and Accounting Research Centre.

56 EDHEC Position Papers and Publications (2008-2010)

EDHEC Financial Analysis and Accounting Research Centre 2009 Publications • Foulquier, P. Solvabilité II : une opportunité de pilotage de la performance des sociétés d’assurance (May). 2008 Position Papers • Amenc, N., F. Ducoulombier and P. Foulquier. Reactions to an EDHEC study on the fair value controversy (December). Avec l'EDHEC Risk and Asset Management Research Centre. • Amenc, N., F. Ducoulombier and P. Foulquier. Réactions après l’étude. Juste valeur ou non : un débat mal posé (December). Avec l'EDHEC Risk and Asset Management Research Centre. • Escaffre, L., P. Foulquier and P. Touron. The fair value controversy: Ignoring the real issue (November). • Escaffre, L., P. Foulquier and P. Touron. Juste valeur ou non : un débat mal posé (November). • Sender, S. QIS4: Significant improvements, but the main risk for life insurance is not taken into account in the standard formula (February). Avec l'EDHEC Risk and Asset Management Research Centre.

EDHEC Economics Research Centre 2010 Position Papers • Chéron, A. Faut-il protéger les emplois à bas salaires ? (January). • Courtioux, P. L’effet du système socio-fiscal sur les rendements privés de l’enseignement supérieur (January).

2009 Position Papers • Chéron, A. Réformer l'indemnisation des chômeurs : plus de redistribution et moins d'assurance (June). • Chéron, A. Quelle protection de l’emploi pour les seniors ? (January). • Courtioux, P. Peut-on financer l’éducation du supérieur de manière plus équitable ? (January). • Gregoir, S. L’incertitude liée à la contraction du marché immobilier pèse sur l’évolution des prix (January).

2008 Position Papers • Gregoir, S. Les prêts étudiants peuvent-ils être un outil de progrès social ? (October). • Chéron, A. Que peut-on attendre d'une augmentation de l'âge de départ en retraite ? (June). • Chéron, A. De l'optimalité des allégements de charges sur les bas salaires (February). • Chéron, A., et S. Gregoir. Mais où est passé le contrat unique à droits progressifs ? (February).

EDHEC Leadership and Corporate Governance Research Centre 2009 Position Papers • Petit, V., and V. Boulocher. Equipes dirigeantes : comment développer la légitimité managériale ? (Mai). • Petit, V. Leadership : ce que pensent les top managers (Mai) • Petit, V., and I. Mari. La légitimité des équipes dirigeantes : une dimension négligée de la gouvernance d'entreprise (January). • Petit, V., and I. Mari. Taking care of executive legitimacy: A neglected issue of corporate governance (January). 57 Notes

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InteraCT is the marketing and consumption Projects currently underway revolve around the research centre at EDHEC. It brings together four experience and value creation by the consumer, researchers from the academic and professional design, branding, customer relations, risk, and worlds. anti-consumption.

Taking as a point of departure the observation Copyright © 2010 EDHEC that conventional marketing management no longer suffices, InteraCT takes an original approach, founded on the notion of interaction, to its research into marketing. The objective of the research centre’s work is to explore the hidden facets of consumption and to provide new means, suitable for current social and economic contexts, of steering markets.

EDHEC BUSINESS SCHOOL INTERACT Research Centre

24 avenue Gustave Delory CS 50411 F- 59057 ROUBAIX CEDEX 1 Tel. : + 33 (0)3 20 15 45 00 e-mail: [email protected]