Mythen und Mythenbildung in Kunst und Werbung

Aufgrund der breiten aktuellen Verwendung des Mythen-Begriffs in Kunst und Werbung, aber darüber hinaus auch in nahezu allen Bereichen gesellschaftlichen Lebens und vor allem in der Philosophie ergibt sich die Notwendigkeit, einen erweiterten Mythos-Begriff über das Historisch-Authentische hinaus zu verfolgen. Ausgehend von einer strukturalen Annäherung an den Mythos-Begriff im Sinne des von Roland Barthes vorgeschlagenen sekundären semiologischen Systems, d.h. einer semiologischen Sinnverschiebung zur Schaffung einer neuen – mythischen – Bedeutung, fordert diese neue Bedeutung eine Analyse, eine Mythenanalyse heraus. Dies ist deshalb so entscheidend, weil eben diese neue Bedeutung ihr mythisches Profil im Sinne von Hans Blumenberg durch forcierte Bedeutsamkeit für Individuen oder für bestimmte gesellschaftliche Gruppierungen unterlegt, z.B. durch bewusst intensive Wiederholung eines Themas oder durch unerwartete Koinzidenzen von Ereignissen oder durch Steigerung bzw. Depotenzierung von Fakten. Der erweiterte Mythen-Begriff verlangt nach einer Strukturierung und führt dabei zu unterschiedlichen Mythen-Ansätzen: zum Ursprungsstoff des authentischen Mythos und darauf basierender Geisteslage, zum Erkennen eines reflektierten Mythos, wenn es um das Verhältnis Mythos/Aufklärung geht, zum Zeitgeist-Mythos mit seinen umfangreichen Ausprägungen ideologischer, affirmativer und kritischer Art oder zu Alltagsmythen, die sich auf Persönlichkeitskulte und Sachverherrlichungen beziehen. Gerade der letztere Typus ist das Terrain der Werbung, die über den Gebrauchswert eines Produktes hinaus Wert steigernde Tauschwerte durch symbolische Zusatzattribute erarbeiten möchte. Hierbei können Markenmythen unterschiedlichster Prägung entstehen, denen wir täglich im Fernsehen oder im Supermarkt begegnen. Die Manifestation des Mythos in der Kunst ist einerseits eine unendliche Transformationsgeschichte mythischer Substanzen und andererseits ein überhöhender Bezug auf Zeitgeisterscheinungen, etwa bei dem Mythos des Künstlers selbst oder der durch ihn vorgenommenen „Verklärung des Gewöhnlichen“. Die Transformationsprozesse können u.a . prototypisch an zwei Beispielketten erläutert werden, die für den Kunst/Werbung-Komplex besonders interessant sind, weil ihr Charakter sich in einem Fall für die Werbung als äußerst Erfolg versprechend erwiesen hat und weil sich im zweiten Fall geradezu das Gegenteil abzeichnet: Zum einen ist es die Mythengestalt der Nymphe, jene jugendliche, erotisch-verführerische Frauengestalt, die über ihre antiken Wurzeln als Sinnbild der Lebensfreude und Fruchtbarkeit hinaus in und nach der Renaissance ihre Eignung als Verbildlichung der Wiederzulassung des Weiblichen in der Kunst beweist und schließlich der Instrumen-talisierung der Werbung dient. Im anderen Fall ist es die Geschichte der Medusa, die man idealtypisch als die andere Seite der Nympha bezeichnen kann. Hier hat Kunst Auf-klärungsarbeit geleistet, vor allem durch die Verschiebung des medusischen Schreckens von ihr weg zu einer allgemein-medusischen Realität, deren neue Träger nicht nur den Schrecken, sondern zugleich ihre Beteiligung an der Schaffung dieses Schreckens auf sich nehmen. Mythosanalyse ist erforderlich, um die Stellungnahmen der Künstler über alle Epochen hinweg und dabei vor allem diese Transformationsprozesse zu erkennen und im Sinne von Ent- oder Remythologisierung einzuordnen. Die hierarchische Zuordnung der dabei erkannten Bedeutungen kann zu einem Grundbestandteil einer praktischen Philosophie werden, wenn sie einen Diskurs durchläuft, der sich an Jürgen Habermas’ Aspekt der Richtigkeit für kommunikatives Handeln unter dem Gesichtspunkt der Toleranz orientiert. Dabei ist nicht nur zu beachten, dass eine verstärkte Mythenbildung in der Kunst zu einem erweiterten Mythen-begriff und damit zu dem erweiterten, heute dominierenden Kunstbegriff postmoderner Prägung geführt hat, sondern dass innerhalb des aktuellen Mythenpakets sich die Darstellungen von Zeitgeist- und Alltagsmythen zu Lasten des authentischen und des reflektierten Mythos entwickelt haben, wobei zusätzlich werbliche Markenmythen ihre Entstehung auf Verfahrensvorbildern der Kunst basieren. Die ökonomische Rationalität der aktuellen Gesellschaft hat die Mythenbildung keines-wegs abgebaut, sie hat sie im Gegenteil gefördert. Der neuerliche Mythenbedarf wurde stimuliert durch die Sinnentleerung der zweckrationalisierten Welt, die Ersatzbedarf anmeldete. Ihre Ordnungsprinzipien durchdringen nicht nur ihre Paradedisziplin, die Ökonomie, sondern Politik und Staat, Wissenschaft und Kunst. Das Umschlagen der Aufklärung wird nur zu vermeiden sein, wenn wir uns Schritt für Schritt durch Mythenanalyse unserer Unmündigkeit entledigen.

Labelling schemes for organic food: Consumer attitudes, preferences and willingness-to-pay in six European countries

Since July 2010, all pre-packed organic food produced in the European Union (EU) must carry the new mandatory EU logo for organic food. Voluntary organic labels (such as national governmental logos and logos of private farmers’ associations and control bodies) can still be used, but only in addition to the mandatory EU logo. This change in the regulatory environment of organic labelling raises a number of questions regarding consumer preferences for different kinds of organic certification logos, which the present dissertation addressed. The first objective was to explore and analyse consumer perceptions, attitudes, preferences and willingness-to-pay (WTP) regarding different voluntary organic labels. The second objective was to investigate consumer perceptions and attitudes towards a mandatory EU logo. A combination of qualitative and quantitative methods of consumer research in six European countries was employed including focus group discussions, choice experiments and structured interviews. Based on the empirical results, recommendations are drawn for different actors in the organic sector.

Attitudes and behaviour towards food attributes and organic food – a triangular methodological investigation of occasional organic consumers

Organic food is increasingly available in the conventional food retail, where organic products are offered alongside with various other types of products and compete mainly with conventional and the so-called conventional-plus products. The latter are conventional products displaying particular quality attributes on the product packaging, such as ‘no artificial additives’, or ‘from animal welfare husbandry’. Often, these quality attributes also apply to organic products. Occasional organic consumers might prefer such conventional-plus alternatives that are perceived to be ‘between’ organic and conventional products. The overall objective of this PhD thesis was to provide information about the segment of occasional organic consumers. In particular, the thesis focussed on consumer perceptions and attitudes towards the quality of, and preferences for, organic, conventional and conventional-plus products in two countries: Germany and Switzerland. To achieve these objectives, qualitative and quantitative consumer research was combined in order to explore occasional organic consumers’ perceptions and attitudes as well as to observe their preferences and buying behaviour regarding different types of food products: organic, conventional and conventional-plus products. The qualitative research showed that, depending on single criteria, organic production was both positively as well as negatively assessed by consumers. Consumer perception of organic food was found to be highly selective and primarily focussed on the final stage of the particular production process. A major problem is that consumers are still mostly unfamiliar with factors associated with organic production, have a lack of confidence, and often confuse organic with conventional products. Besides this, consumer expectations of organic products are different from the expectations of conventional products. The quantitative research revealed that attitudes strongly determine consumers’ preferences for organic, conventional and conventional-plus products. Consumer attitudes tended to differ more between organic and conventional choices rather than conventional-plus and conventional choices. Furthermore, occasional organic consumers are heterogeneous in their preferences. They can be grouped into two segments: the consumers in one segment were less price sensitive and preferred organic products. The consumers in the other segment were more price sensitive and rather preferred conventional-plus or conventional products. To conclude, given the selective and subjective nature of consumer perception and the strong focus of consumer perception on the final stage of the food production process, specific additional values of organic farming should be communicated in clear and catchy messages. At the same time, these messages should be particularly focussed on the final stage of organic food production. The communication of specific added values in relation with organic products to improve the perceived price-performance-ratio is important since conventional-plus products represent an interesting alternative particularly for price sensitive occasional organic consumers. Besides this, it is important to strengthen affirmative consumer attitudes towards organic production. Therefore, policy support should emphasise on long-term communication campaigns and education programmes to increase the consumer awareness and knowledge of organic food and farming. Since consumers expect that organic food is regionally or at least domestically produced while they less accept organic imports, policy support of domestic and regional producers is a crucial measure to fill the current gap between the increasing consumer demand of organic food and the stagnation of the domestic and regional organic food supply.

Organic consumers' attitudes and preferences regarding alternatives to piglet castration without anaesthesia and analgesia in organic farming - an explorative analysis

In Germany and other European countries piglets are routinely castrated in order to avoid the occurrence of boar taint, an off-flavour and off-odour of pork. Sensory perception of boar taint varies; however, it is regarded as very unpleasant by many people. Surgical castration which is an effective means against boar taint has commonly been performed without anaesthesia or analgesia within the piglets’ first seven days of life. Piglet castration without anaesthesia has been heavily criticised, as the assumption that young piglets perceive less pain than older animals cannot be supported by scientific evidence. Consequently, surgical castration is only allowed with anaesthesia and/or analgesia in organic farming throughout the European Union since January 2012. Abandoning piglet castration without pain relief requires the implementation of alternative methods which improve animal welfare while maintaining sensory meat quality. There are three relevant alternatives: castration with anaesthesia and/or analgesia to reduce pain, a vaccination against boar taint (immunocastration) and the fattening of uncastrated male pigs (fattening of boars) combined with measures to reduce and detect boar taint in meat. Consumers’ attitudes and opinions regarding the alternatives are an important factor with regard to the implementation of alternatives, as they are finally supposed to buy the meat. The objective of this dissertation was to explore organic consumers’ attitudes, preferences and willingness-to-pay regarding piglet castration without pain relief and the three alternatives. Important aspects for the evaluation of the alternatives and influencing factors (e.g. information, taste) on preferences and willingness-to-pay should also be identified. In autumn 2009 nine focus group discussions were conducted each followed by a Vickrey auction including a tasting of boar salami. Overall, 89 consumers of organic pork participated in the study. Information on piglet castration and alternatives (in three variants) was provided as a basis for discussion. The focus group data were analysed using qualitative content analysis. In order to compare the focus group results with those from the auctions, an innovative approach applying an adapted scoring model to further analyse the data set was used. The majority of participants were not aware that piglets are castrated without anaesthesia in organic farming. They reacted shocked and disappointed on learning about this practice which did not fit into their image of animal welfare standards in organic farming. Overall, the results show, that for consumers of organic pork castration with anaesthesia and analgesia as well as the fattening of boars may be acceptable alternatives in organic farming. Considering the strong food safety concerns regarding immunocastration, acceptance of this alternative may be questioned. Communication regarding alternatives to piglet castration without anaesthesia and analgesia should take into account that the relevance of the aspects animal welfare, food safety, taste and costs differs between alternatives. Furthermore, it seems advisable not to address an unappetizing topic like piglet castration directly at the point of sale so as not to deter consumers from buying organic pork. The issue of piglet castration demonstrates exemplarily that it is important for the organic sector to implement and maintain high animal welfare standards and communicate them in an appropriate way, thereby trying to prevent strong discrepancies between consumers’ expectations regarding animal husbandry in organic farming and actual conditions. So, disappointment of consumers and a loss of image due to negative reports about animal welfare issues can be avoided.