now turn to the vexing perspective of the postmodern and how it might problematize our conceptualizations. In postmodern terms, the hermeneu-tic circle of lovemap construction may be understood in terms of a never-ending cycle of (re)signification and constantly shifting tastes (Baudrillard, 1983). Postmodern and related poststructuralist thought priv-ileges the transience of existence as opposed to the universals that seem to serve as the foundation of prior thought. Although this might at first ap-pear inconsistent with the scientific point of view that seems to seek out such universals, it is less so when the scientific research method is consid-ered because it continually strives to overthrow established theories. Thus although we should not airbrush out the differences, we should nonethe-less recognize the major element of flux common to both approaches.
In the present context, postmodernism suggests a lack of rigidity in the construction of the advertising lovemap. For example, in the marketplace, there may be a variety of versions of the lovemap that are encountered by different versions of the self (cf. Simon, 1989). At the same time, there are as-pects of life that appear to be more enduring. In fact, there is a paradoxical negotiation between the relatively longstanding and the relatively novel, transitory or postmodern (Gould & Lerman, 1998; Thompson &
Hirschman, 1995). The longstanding reflects themes that appear to be virtu-ally continuous whereas postmodern themes are reflective of a culture in
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which social structures and values appear to be under siege by forces of hy-per-change and fragmentation.
Reflective of the advertising lovemap’s overdetermination, post-modernist advertising also juxtaposes themes and playfully tweaks con-sumers’ imagination. For example, a recent series of ads for various clothing manufacturers and stores in The New York Times Magazine con-tained models in sexy poses and with sexy gazes. Each ad also had a differ-ent theme, including: “On the Edge,” “Russian Revolution,” “Baby-doll Punk,” “Black Power,” “Second Skins” with a sub-theme “Zoology is Des-tiny,” “Hippie Chic,” “New Chicks on the Block,” “Wide, They Said,”
“Leather and Lace,” and “The Showmen” (actually two women). These themes intermingle sexuality with other themes in mockingly playful ways, at once tempering sexuality and then exaggerating it. For example, as shown in Fig. 8.3, the “Second Skins” ad plays on clothing as skin, ala Mar-shall McLuhan, and zoology (biology) as destiny, ala Darwin. With all its seeming complexity, the excitement of shedding superfluous skin to reach the flesh is not lost on the audience.
The postmodern hermeneutic circle may also involve some cross-culture-based transformations that reconstrue sexuality altogether.
For example, I have been an observer of a previously obscure practice from India and Tibet known as Tantric sex (Gould, 1991c). Suddenly, it has be-come an item as it has surfaced on HBO and in other popular outlets. The Tantric perspective shifts consumers’ sexual focus to a practice of elabora-tion and spiritual or yogic dimensions, much different from convenelabora-tional Western perspectives. Yet, Tantric sex is making its presence felt in Western circles. Such a shift as this suggests that there is not “one sexuality,” but stead a multiplicity as expressed by the cultural consumer lovemap. I in-clude this Tantric form of sexuality here, because although advertising concerning it is mainly restricted to goods directly related to it, at least at present, I predict that such a perspective will be coopted and utilized by mainstream advertising at some point as the advertising lovemap evolves.
Technology is also a major factor in the fluidity of postmodernity. New forms of communication alter the cultural landscape by transforming how consumers view themselves. For example, consider the Internet, which re-flects the play between culture and individuals very well. The Internet has afforded individuals the capacity to reach one another by disinter-mediating the process of utilizing hierarchical media, in which they never did reach others (e.g., broadcast television). Moreover, through such trans-formative phenomena, there has emerged what might be called peer-to-peer advertising or peer-to-peer direct marketing in which consumers commercial-ize and attempt to reach other consumers with their products and services.
Web-based auctions would be another example of peer-to-peer marketing,
164 GOULD
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FIG. 8.3 Advertisement titled “Second Skins,” illustrating postmodern sexual playfulness.
although auctions are generally less sexually charged than are some webcam sites.
In this context, advertising serves not only to reflect identities and roles but also to problematize them through play and through challenge.
Things are unsettled and fluid, if not altogether confusing. In this respect, longstanding elements are utilized in combinatorial construction so that the constant new of postmodernity is produced. The old never quite dies and the new never quite takes hold. With respect to sexuality, enduring themes about men and women continue but they are constantly being transformed in the play of hyper-evolving cultural forces. Sexual roles are in constant negotiation and advertising becomes an instrument in the hands of these forces.
IMPLICATIONS FOR THE FUTURE