{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title":"Time, Consumption and Everyday Life Practice, Materiality and Culture","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"requested_by":"printed_page","book":{"source_type":"original_book","book_id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","id":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","uuid":"1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title":"Time, Consumption and Everyday Life Practice, Materiality and Culture","normalized_title":"timeconsumptionandeverydaylifepracticematerialityandculture","author":null,"edition":null,"publisher":null,"year":null,"isbn":null,"isbns":[],"parsed":true,"ai_readable":true,"document_type":"book","page_count":236,"navigation_url":"https://workshop.closeclaw.top/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","title_url":"https://workshop.closeclaw.top/ai/title/Time%2C%20Consumption%20and%20Everyday%20Life%20Practice%2C%20Materiality%20and%20Culture","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e","page_url":"https://workshop.closeclaw.top/api/ai/books/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/page","search_url":"https://workshop.closeclaw.top/api/ai/books/1dc0854c-957b-4fb1-af9a-bb4fdb76b77e/search"},"page":{"printed_page":164,"pdf_page":163,"physical_index":163,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"3f9d81ed97f1ca7cf044ef4009149d2de1d50aed510e1c1ecfe9d77ac2e7bf01"},"chapter":"List of Tables and Figures","content":"In general the people who buy antiques have higher status than those who buy reproduction – the former being associated with the arts, in which the original has always had to preserve itself from the mere copy. I suspect most academics would be on their side. My sense of this comes from my own experience as someone who generally prefers fake reproductions. My house is dominated by an ‘oriental’ carpet made in Belgium and purchased at John Lewis. As I would see it, both the European Renaissance and the Pre-Raphaelite could be regarded as reproduction styles, but actually the new context is a form of active reappropriation. If fakes and copies undermine the art market and its absurd prices, this seems entirely positive. But then some of my friends would see my taste as an affectation, either for the vulgar and philistine, or a desire for status by overtrumping style.\n\nThese matters are probably best argued over a drink. The point, though, is that in contemporary consumption we also often work with a contradictory and dualist relationship to time as represented in material culture, preferring to buy time in the sense of objects that were actually associated with past people rather than an appearance of the past. Most people privilege patina over veneer. One more step is required, however, to return this point to the overall focus of this volume, that is, our rhythms and routines of consumption. Fortuitously I was able to take this step recently when I was approached to facilitate a new research project. This is being carried out by Nicolette Makovicky, who had just finished a Ph.D. in my Department at UCL as research assistant to Gerry and Valerie Mars and Angela Burr. My task was to give a place for this project through our department under the title of ‘A pilot study of interactions, interconnections and change in the antiques, car boot sale and collectable trades with special reference to income provision and the enhancement of social well-being among the retired and 50 and over unemployed’.\n\nI suspect that in general people such as myself who tend to buy fakes and reproductions have not produced from this any particular rhythms or routines of consumption. Our purchases tend to be one-off and ad hoc, according to what we see as the needs of our home decorations. By contrast, the people who are the subject of this research project are responsible for one of the most concerted routines of contemporary consumption. Many of these people visit antique markets, or the various versions of flea markets and junk markets, with considerable frequency. One suspects that many of those who sell such items are hard to distinguish from the buyers, in that both parties seem to share a general sense of the amateur love of such things, and either of them might make the commitment to a weekly attendance at such events. Indeed in some of the more informal markets I see consumers who know the sellers well enough to spend an hour or two minding the stall while the seller takes time off to be a consumer. It is hard to think of many other aspects of consumption that therefore so fully confirm the sense of routine or rhythms of the consumption process as this highly regular commitment to being present often on a weekly basis,\n\n164\n\n• Daniel Miller","previous_page":163,"next_page":165}