In \u201cThe Consuming Vision,\u201d\u009d an essay about novelist Henry James, of all things, Jean-Christophe Agnew argues that the consumerist culture emerging in James\u2019s time was a \u201cworld constructed by and for a consuming vision,\u201d\u009d an \u201cimagined world \u201d\u00a6 in which imagination itself strives to gild, glaze, and ultimately commodify its objects.\u201d\u009d This consuming vision becomes hegemonic in a world that comes to be seen as made entirely of commodities. \u201cWhat modern consumer culture produces,\u201d\u009d Agnew argues, \u201cis not so much a way of being as a way of seeing \u201d\u201d a way best characterized as visually acquisitive. In short, modern consumer culture holds up the cognitive appetite as the model and engine of its reproductive process.\u201d\u009d<\/p>\n
Agnew points out that the churn of markets assures that these sorts of characteristics are never stable in any given commodity or experience. Consumerism posits such meanings as free-floating, redeployable, highly contingent and not intrinsic to a good\u2019s use value. (Soap might make me objectively clean, but will it make me feel clean, which is ultimately more important?)<\/p>\n
Thus those meanings are always socially determined to a degree, and always require further labor to affix them to goods. Advertising has traditionally served the purpose of attaching the affective associations with products; social media now enlists the members of one\u2019s social networks to assist in this process. We aid in the building of such ad hoc associations between feelings and goods (we are \u201cprosuming,\u201d\u009d making our consumption productive of symbolic meaning by broadcasting it), but this serves also to reinforce that the overall sense that the meanings are applied and withdrawn at social whim.<\/p>\n
Pinterest is geared toward stimulating this acquisitive appetite for images without sating it.<\/p>\n