Hatsune Miku: An Uncertain Image

Research output: Contribution to journalJournal articlepeer-review

Standard

Hatsune Miku: An Uncertain Image. / Hasse Jørgensen, Stina; Vitting-Seerup, Sabrina; Wallevik, Katrine.

In: Digital Creativity, Vol. 28, No. 4, 09.10.2017, p. 318-331.

Research output: Contribution to journalJournal articlepeer-review

Harvard

Hasse Jørgensen, S, Vitting-Seerup, S & Wallevik, K 2017, 'Hatsune Miku: An Uncertain Image', Digital Creativity, vol. 28, no. 4, pp. 318-331. https://doi.org/10.1080/14626268.2017.1381625

APA

Hasse Jørgensen, S., Vitting-Seerup, S., & Wallevik, K. (2017). Hatsune Miku: An Uncertain Image. Digital Creativity, 28(4), 318-331. https://doi.org/10.1080/14626268.2017.1381625

Vancouver

Hasse Jørgensen S, Vitting-Seerup S, Wallevik K. Hatsune Miku: An Uncertain Image. Digital Creativity. 2017 Oct 9;28(4):318-331. https://doi.org/10.1080/14626268.2017.1381625

Author

Hasse Jørgensen, Stina ; Vitting-Seerup, Sabrina ; Wallevik, Katrine. / Hatsune Miku: An Uncertain Image. In: Digital Creativity. 2017 ; Vol. 28, No. 4. pp. 318-331.

Bibtex

@article{a0b75ec30a1d48eba89afae6c5a3c8d5,
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.",
keywords = "Faculty of Humanities, Fan Culture, Online Participation, Uncertain Image, Visual Studies",
author = "{Hasse J{\o}rgensen}, Stina and Sabrina Vitting-Seerup and Katrine Wallevik",
year = "2017",
month = oct,
day = "9",
doi = "10.1080/14626268.2017.1381625",
language = "English",
volume = "28",
pages = "318--331",
journal = "Digital Creativity",
issn = "1462-6268",
publisher = "Routledge",
number = "4",

}

RIS

TY - JOUR

T1 - Hatsune Miku: An Uncertain Image

AU - Hasse Jørgensen, Stina

AU - Vitting-Seerup, Sabrina

AU - Wallevik, Katrine

PY - 2017/10/9

Y1 - 2017/10/9

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.

KW - Faculty of Humanities

KW - Fan Culture

KW - Online Participation

KW - Uncertain Image

KW - Visual Studies

U2 - 10.1080/14626268.2017.1381625

DO - 10.1080/14626268.2017.1381625

M3 - Journal article

VL - 28

SP - 318

EP - 331

JO - Digital Creativity

JF - Digital Creativity

SN - 1462-6268

IS - 4

ER -

ID: 178736050