Hatsune Miku: An Uncertain Image

Stina Hasse Jørgensen; Sabrina Vitting-Seerup; Katrine Wallevik

doi:10.1080/14626268.2017.1381625

Hatsune Miku: An Uncertain Image

Stina Hasse Jørgensen, Sabrina Vitting-Seerup, Katrine Wallevik

Institut for Kunst- og Kulturvidenskab

Abstract

In this article, we discuss the vocaloid pop star Hatsune Miku as an uncertain image, which embodies networks of fans functioning as cultural producers, making it unclear whether creative statements are affectively dialogical or function as entrepreneurial campaigning. Here we describe Hatsune Miku as an image that is not only desired by fans, but that itself desires. We critically debate the affective investments and distributed ownership in the attention economy in relation to the cultural phenomenon of Hatsune Miku, and consider the pop star to be continuously animated, produced, circulated and consumed by fans, while profit is channeled back to the company behind the image: Crypton Future Media. We further argue that this channeling has been enabled by new digital infrastructures, creating a risk that networks of fans’ affections and desires may be transformed and mutated into feelings that are entangled with commercial interests, thus producing uncertain images of desire such as Hatsune Miku.

Originalsprog	Engelsk
Tidsskrift	Digital Creativity
Vol/bind	28
Udgave nummer	4
Sider (fra-til)	318-331
ISSN	1462-6268
DOI	https://doi.org/10.1080/14626268.2017.1381625
Status	Udgivet - 2 okt. 2017

Emneord

Det Humanistiske Fakultet

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10.1080/14626268.2017.1381625

Citationsformater

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title = "Hatsune Miku: An Uncertain Image",

abstract = "In this article, we discuss the vocaloid pop star Hatsune Miku as an uncertain image, which embodies networks of fans functioning as cultural producers, making it unclear whether creative statements are affectively dialogical or function as entrepreneurial campaigning. Here we describe Hatsune Miku as an image that is not only desired by fans, but that itself desires. We critically debate the affective investments and distributed ownership in the attention economy in relation to the cultural phenomenon of Hatsune Miku, and consider the pop star to be continuously animated, produced, circulated and consumed by fans, while profit is channeled back to the company behind the image: Crypton Future Media. We further argue that this channeling has been enabled by new digital infrastructures, creating a risk that networks of fans{\textquoteright} affections and desires may be transformed and mutated into feelings that are entangled with commercial interests, thus producing uncertain images of desire such as Hatsune Miku.",

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N2 - In this article, we discuss the vocaloid pop star Hatsune Miku as an uncertain image, which embodies networks of fans functioning as cultural producers, making it unclear whether creative statements are affectively dialogical or function as entrepreneurial campaigning. Here we describe Hatsune Miku as an image that is not only desired by fans, but that itself desires. We critically debate the affective investments and distributed ownership in the attention economy in relation to the cultural phenomenon of Hatsune Miku, and consider the pop star to be continuously animated, produced, circulated and consumed by fans, while profit is channeled back to the company behind the image: Crypton Future Media. We further argue that this channeling has been enabled by new digital infrastructures, creating a risk that networks of fans’ affections and desires may be transformed and mutated into feelings that are entangled with commercial interests, thus producing uncertain images of desire such as Hatsune Miku.

AB - In this article, we discuss the vocaloid pop star Hatsune Miku as an uncertain image, which embodies networks of fans functioning as cultural producers, making it unclear whether creative statements are affectively dialogical or function as entrepreneurial campaigning. Here we describe Hatsune Miku as an image that is not only desired by fans, but that itself desires. We critically debate the affective investments and distributed ownership in the attention economy in relation to the cultural phenomenon of Hatsune Miku, and consider the pop star to be continuously animated, produced, circulated and consumed by fans, while profit is channeled back to the company behind the image: Crypton Future Media. We further argue that this channeling has been enabled by new digital infrastructures, creating a risk that networks of fans’ affections and desires may be transformed and mutated into feelings that are entangled with commercial interests, thus producing uncertain images of desire such as Hatsune Miku.

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Hatsune Miku: An Uncertain Image

Abstract

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