The Video-aperitif During Lockdown in France: (Re)Defining Situation and Context of Online Consumption
The aperitif is an alcoholic drink taken before a meal as an appetizer, but also a crucial part of the French culture and social life (Corbeau and Poulain 2002). The term apéro then refers less to the pre-meal beverage itself than to the moment, social and symbolic aspects of the consumption practic...
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description | The aperitif is an alcoholic drink taken before a meal as an appetizer, but also a crucial part of the French culture and social life (Corbeau and Poulain 2002). The term apéro then refers less to the pre-meal beverage itself than to the moment, social and symbolic aspects of the consumption practice. The aperitif is a moment of food sociability, which can be broken down into four ideal-types: the spontaneous aperitif, the home invitation for only an aperitif, the aperitif invitation as prelude to a meal at home, and the aperitifdinner (Poulain 2005). From the very beginning of the first lockdown in France (implemented between March 17 and May 11, 2020), the press has widely reported on a massive phenomenon: online video-apéro, under the terms Skypéros, WhatsAppéros or even Coronapéros, either referring to the platforms or the virus. This research aims to understand this new consumption practice both online and at home (Epp, Schau, and Price 2014) as an opportunity to better distinguish the concepts of consumption situation and context. The concept of situation has been at the heart of social sciences since Goffman's seminal text (1964) and became central to marketing research (Belk 1974, 1975, Punj and Stewart 1983). The invitation to take better account of the context to avoid the pitfall of microsocial approaches is more recent (Askegaard and Linnet 2011). The situation is determined by the triptych: participants, spatial and material elements, temporal dimensions (Michaud-Trévinal and Stenger 2018). The situation is lived and experienced, subjective. It fundamentally depends on the context (or framework; Goffman 1974). The context corresponds to the way the situation is lived, to the interpretation structures, to the cognitive patterns, which each person uses to understand the events that occur (Girin 2016). Any experience can intertwine itself to several frameworks-either primary or transformed frameworks (Goffman 1974)-which are related to each other. Primary frameworks can be natural, involving the laws of nature, or social, involving human intentions. The framework is transformed when it resembles a primary framework but has a different meaning. If the transformation is visible and explicit to all participants, it refers to a keying process (e.g., band rehearsal). If the transformation is hidden and intended to distort the interpretation, it is a fabrication process (e.g., mystery shopper). Three qualitative studies were conducted. At first glance, |
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The term apéro then refers less to the pre-meal beverage itself than to the moment, social and symbolic aspects of the consumption practice. The aperitif is a moment of food sociability, which can be broken down into four ideal-types: the spontaneous aperitif, the home invitation for only an aperitif, the aperitif invitation as prelude to a meal at home, and the aperitifdinner (Poulain 2005). From the very beginning of the first lockdown in France (implemented between March 17 and May 11, 2020), the press has widely reported on a massive phenomenon: online video-apéro, under the terms Skypéros, WhatsAppéros or even Coronapéros, either referring to the platforms or the virus. This research aims to understand this new consumption practice both online and at home (Epp, Schau, and Price 2014) as an opportunity to better distinguish the concepts of consumption situation and context. The concept of situation has been at the heart of social sciences since Goffman's seminal text (1964) and became central to marketing research (Belk 1974, 1975, Punj and Stewart 1983). The invitation to take better account of the context to avoid the pitfall of microsocial approaches is more recent (Askegaard and Linnet 2011). The situation is determined by the triptych: participants, spatial and material elements, temporal dimensions (Michaud-Trévinal and Stenger 2018). The situation is lived and experienced, subjective. It fundamentally depends on the context (or framework; Goffman 1974). The context corresponds to the way the situation is lived, to the interpretation structures, to the cognitive patterns, which each person uses to understand the events that occur (Girin 2016). Any experience can intertwine itself to several frameworks-either primary or transformed frameworks (Goffman 1974)-which are related to each other. Primary frameworks can be natural, involving the laws of nature, or social, involving human intentions. The framework is transformed when it resembles a primary framework but has a different meaning. If the transformation is visible and explicit to all participants, it refers to a keying process (e.g., band rehearsal). If the transformation is hidden and intended to distort the interpretation, it is a fabrication process (e.g., mystery shopper). Three qualitative studies were conducted. At first glance, the results show that video-apéros allow people to "see each other", "get closer" and even "create new links" in the same way as aperitifs. Video-apéros are very much linked to the pandemic context: they allow people to maintain habits despite lockdown- "for me, the videoapéro [...] helps to share things with people close to us with whom we used to have aperitifs before" (Eléonore). This is one of the interests of video-apéros: doing as before, and in a performative way, showing to oneself and to others that everything is fine! The video-apéros resonate with Poulain's aperitif ideal-types (2005) but goes beyond. On the one hand, spontaneous video-apéros are organized following a quick proposal. On the other hand, scheduled video-apéros are organized to live an expected moment. They take three different forms: invitation to the video-apero, planned to try a new mode of social interaction with colleagues; the pre-meal video-apéro, based on the historical principle of appetizers within a closer social circle; the video-apero dinner, close to a buffet dinner with friends or family. However, many frustrations caused by video-apéros tend to keep them away from aperitifs: physical interaction is impossible: "we can't hug each other" (Mireille); verbal or visual interactions are unnatural: "when everyone is talking at the same time, you can't hear yourself' (Bettina); and the restricted and static field of vision causes a certain "weariness". Finally, for most participants, the video-apéro seems to be nothing more than a copy of the real thing in which the interactants play at having an aperitif: "as if you were going out for real and before going out, you wanted to make yourself a bit prettier" (Aline). And in the absence of interaction rules usually imposed by the hosts, participants are surprised once they realize they have a different idea about the unfolding of a video-apéro: "We were having an aperitif, but she wasn't really having an aperitif' (Gabriel). The practice of video-apéro reveals a real proximity to the traditional aperitif, but frame analysis of the consumption experience highlights the variety of situations and contexts. On the one hand, the mediatization of the experience, located in distinct places, prevents face-to-face co-presence. On the other hand, the interactants do not necessarily share the same type of space, materiality and food which usually structure consumption situations (Michaud-Trévinal and Stenger 2018). The variety of situations therefore leads to a diversity of consumption experiences. Framing operations of the consumption experience are also often differentiated. Firstly, participants do not necessarily experience the same type of video-apéro, which leads to ambiguous or even frustrating experiences and to disengagement (Goffman 1974). Secondly, the reference framework is not always shared. For some participants, the video-apéro clearly refers to a primary and social framework: it is an aperitif with a mediated consumption experience. For others, the practice is part of a keying process. The playful dimension of the consumption experience is then prominent, agreeing that one is doing as if while considering that it is not really an aperitif but a copy of the model (Goffman 1974). If all the guests agree, the experience is balanced and the activities are frank. If not, a breakdown is observed. The frustration revealed in our results is symptomatic of participants who would like to privilege a primary social framework but resign themselves to a keying process.</description><identifier>ISSN: 0098-9258</identifier><language>eng</language><publisher>Urbana: Association for Consumer Research</publisher><subject>Consumption ; User experience</subject><ispartof>Advances in consumer research, 2021, Vol.49, p.456-457</ispartof><rights>Copyright Association for Consumer Research 2021</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><link.rule.ids>309,310,780,784,789,790,23928,23929,25138</link.rule.ids></links><search><creatorcontrib>Stenger, Thomas</creatorcontrib><creatorcontrib>Faure-Ferlet, Axelle</creatorcontrib><title>The Video-aperitif During Lockdown in France: (Re)Defining Situation and Context of Online Consumption</title><title>Advances in consumer research</title><description>The aperitif is an alcoholic drink taken before a meal as an appetizer, but also a crucial part of the French culture and social life (Corbeau and Poulain 2002). The term apéro then refers less to the pre-meal beverage itself than to the moment, social and symbolic aspects of the consumption practice. The aperitif is a moment of food sociability, which can be broken down into four ideal-types: the spontaneous aperitif, the home invitation for only an aperitif, the aperitif invitation as prelude to a meal at home, and the aperitifdinner (Poulain 2005). From the very beginning of the first lockdown in France (implemented between March 17 and May 11, 2020), the press has widely reported on a massive phenomenon: online video-apéro, under the terms Skypéros, WhatsAppéros or even Coronapéros, either referring to the platforms or the virus. This research aims to understand this new consumption practice both online and at home (Epp, Schau, and Price 2014) as an opportunity to better distinguish the concepts of consumption situation and context. The concept of situation has been at the heart of social sciences since Goffman's seminal text (1964) and became central to marketing research (Belk 1974, 1975, Punj and Stewart 1983). The invitation to take better account of the context to avoid the pitfall of microsocial approaches is more recent (Askegaard and Linnet 2011). The situation is determined by the triptych: participants, spatial and material elements, temporal dimensions (Michaud-Trévinal and Stenger 2018). The situation is lived and experienced, subjective. It fundamentally depends on the context (or framework; Goffman 1974). The context corresponds to the way the situation is lived, to the interpretation structures, to the cognitive patterns, which each person uses to understand the events that occur (Girin 2016). Any experience can intertwine itself to several frameworks-either primary or transformed frameworks (Goffman 1974)-which are related to each other. Primary frameworks can be natural, involving the laws of nature, or social, involving human intentions. The framework is transformed when it resembles a primary framework but has a different meaning. If the transformation is visible and explicit to all participants, it refers to a keying process (e.g., band rehearsal). If the transformation is hidden and intended to distort the interpretation, it is a fabrication process (e.g., mystery shopper). Three qualitative studies were conducted. At first glance, the results show that video-apéros allow people to "see each other", "get closer" and even "create new links" in the same way as aperitifs. Video-apéros are very much linked to the pandemic context: they allow people to maintain habits despite lockdown- "for me, the videoapéro [...] helps to share things with people close to us with whom we used to have aperitifs before" (Eléonore). This is one of the interests of video-apéros: doing as before, and in a performative way, showing to oneself and to others that everything is fine! The video-apéros resonate with Poulain's aperitif ideal-types (2005) but goes beyond. On the one hand, spontaneous video-apéros are organized following a quick proposal. On the other hand, scheduled video-apéros are organized to live an expected moment. They take three different forms: invitation to the video-apero, planned to try a new mode of social interaction with colleagues; the pre-meal video-apéro, based on the historical principle of appetizers within a closer social circle; the video-apero dinner, close to a buffet dinner with friends or family. However, many frustrations caused by video-apéros tend to keep them away from aperitifs: physical interaction is impossible: "we can't hug each other" (Mireille); verbal or visual interactions are unnatural: "when everyone is talking at the same time, you can't hear yourself' (Bettina); and the restricted and static field of vision causes a certain "weariness". Finally, for most participants, the video-apéro seems to be nothing more than a copy of the real thing in which the interactants play at having an aperitif: "as if you were going out for real and before going out, you wanted to make yourself a bit prettier" (Aline). And in the absence of interaction rules usually imposed by the hosts, participants are surprised once they realize they have a different idea about the unfolding of a video-apéro: "We were having an aperitif, but she wasn't really having an aperitif' (Gabriel). The practice of video-apéro reveals a real proximity to the traditional aperitif, but frame analysis of the consumption experience highlights the variety of situations and contexts. On the one hand, the mediatization of the experience, located in distinct places, prevents face-to-face co-presence. On the other hand, the interactants do not necessarily share the same type of space, materiality and food which usually structure consumption situations (Michaud-Trévinal and Stenger 2018). The variety of situations therefore leads to a diversity of consumption experiences. Framing operations of the consumption experience are also often differentiated. Firstly, participants do not necessarily experience the same type of video-apéro, which leads to ambiguous or even frustrating experiences and to disengagement (Goffman 1974). Secondly, the reference framework is not always shared. For some participants, the video-apéro clearly refers to a primary and social framework: it is an aperitif with a mediated consumption experience. For others, the practice is part of a keying process. The playful dimension of the consumption experience is then prominent, agreeing that one is doing as if while considering that it is not really an aperitif but a copy of the model (Goffman 1974). If all the guests agree, the experience is balanced and the activities are frank. If not, a breakdown is observed. The frustration revealed in our results is symptomatic of participants who would like to privilege a primary social framework but resign themselves to a keying process.</description><subject>Consumption</subject><subject>User experience</subject><issn>0098-9258</issn><fulltext>true</fulltext><rsrctype>conference_proceeding</rsrctype><creationdate>2021</creationdate><recordtype>conference_proceeding</recordtype><sourceid>ABUWG</sourceid><sourceid>AFKRA</sourceid><sourceid>BENPR</sourceid><sourceid>CCPQU</sourceid><sourceid>DWQXO</sourceid><recordid>eNqNykkKwkAQheFeKDjeocCNLgLtFBO3DrgQBBW3oUmqtRyqYw_o8TXgAVw9-N9XE00p0yRKR9OkIVrOXaUcziZx3BT6eEE4UYEmUiVa8qRhGSzxGbYmvxXmxUAMa6s4xzn09zhYoiauwIF8UJ4Mg-ICFoY9vj0YDTu-E2NVXHiUleiIulZ3h93ftkVvvTouNlFpzTOg89nVBMvfKxvLVMZJMkqH4__UB64zRcA</recordid><startdate>20210101</startdate><enddate>20210101</enddate><creator>Stenger, Thomas</creator><creator>Faure-Ferlet, Axelle</creator><general>Association for Consumer Research</general><scope>0U~</scope><scope>1-H</scope><scope>3V.</scope><scope>7WY</scope><scope>7WZ</scope><scope>7XB</scope><scope>87Z</scope><scope>8FK</scope><scope>8FL</scope><scope>ABUWG</scope><scope>AFKRA</scope><scope>BENPR</scope><scope>BEZIV</scope><scope>CCPQU</scope><scope>DWQXO</scope><scope>FRNLG</scope><scope>F~G</scope><scope>K60</scope><scope>K6~</scope><scope>L.-</scope><scope>L.0</scope><scope>M0C</scope><scope>PQBIZ</scope><scope>PQBZA</scope><scope>PQEST</scope><scope>PQQKQ</scope><scope>PQUKI</scope><scope>PRINS</scope><scope>PSYQQ</scope><scope>Q9U</scope></search><sort><creationdate>20210101</creationdate><title>The Video-aperitif During Lockdown in France: (Re)Defining Situation and Context of Online Consumption</title><author>Stenger, Thomas ; Faure-Ferlet, Axelle</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-proquest_journals_30906882913</frbrgroupid><rsrctype>conference_proceedings</rsrctype><prefilter>conference_proceedings</prefilter><language>eng</language><creationdate>2021</creationdate><topic>Consumption</topic><topic>User experience</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Stenger, Thomas</creatorcontrib><creatorcontrib>Faure-Ferlet, Axelle</creatorcontrib><collection>Global News & ABI/Inform Professional</collection><collection>Trade PRO</collection><collection>ProQuest Central (Corporate)</collection><collection>ABI/INFORM Collection</collection><collection>ABI/INFORM Global (PDF only)</collection><collection>ProQuest Central (purchase pre-March 2016)</collection><collection>ABI/INFORM Global (Alumni Edition)</collection><collection>ProQuest Central (Alumni) (purchase pre-March 2016)</collection><collection>ABI/INFORM Collection (Alumni Edition)</collection><collection>ProQuest Central (Alumni Edition)</collection><collection>ProQuest Central UK/Ireland</collection><collection>ProQuest Central</collection><collection>Business Premium Collection</collection><collection>ProQuest One Community College</collection><collection>ProQuest Central Korea</collection><collection>Business Premium Collection (Alumni)</collection><collection>ABI/INFORM Global (Corporate)</collection><collection>ProQuest Business Collection (Alumni Edition)</collection><collection>ProQuest Business Collection</collection><collection>ABI/INFORM Professional Advanced</collection><collection>ABI/INFORM Professional Standard</collection><collection>ABI/INFORM Global</collection><collection>ProQuest One Business</collection><collection>ProQuest One Business (Alumni)</collection><collection>ProQuest One Academic Eastern Edition (DO NOT USE)</collection><collection>ProQuest One Academic</collection><collection>ProQuest One Academic UKI Edition</collection><collection>ProQuest Central China</collection><collection>ProQuest One Psychology</collection><collection>ProQuest Central Basic</collection></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Stenger, Thomas</au><au>Faure-Ferlet, Axelle</au><format>book</format><genre>proceeding</genre><ristype>CONF</ristype><atitle>The Video-aperitif During Lockdown in France: (Re)Defining Situation and Context of Online Consumption</atitle><btitle>Advances in consumer research</btitle><date>2021-01-01</date><risdate>2021</risdate><volume>49</volume><spage>456</spage><epage>457</epage><pages>456-457</pages><issn>0098-9258</issn><abstract>The aperitif is an alcoholic drink taken before a meal as an appetizer, but also a crucial part of the French culture and social life (Corbeau and Poulain 2002). The term apéro then refers less to the pre-meal beverage itself than to the moment, social and symbolic aspects of the consumption practice. The aperitif is a moment of food sociability, which can be broken down into four ideal-types: the spontaneous aperitif, the home invitation for only an aperitif, the aperitif invitation as prelude to a meal at home, and the aperitifdinner (Poulain 2005). From the very beginning of the first lockdown in France (implemented between March 17 and May 11, 2020), the press has widely reported on a massive phenomenon: online video-apéro, under the terms Skypéros, WhatsAppéros or even Coronapéros, either referring to the platforms or the virus. This research aims to understand this new consumption practice both online and at home (Epp, Schau, and Price 2014) as an opportunity to better distinguish the concepts of consumption situation and context. The concept of situation has been at the heart of social sciences since Goffman's seminal text (1964) and became central to marketing research (Belk 1974, 1975, Punj and Stewart 1983). The invitation to take better account of the context to avoid the pitfall of microsocial approaches is more recent (Askegaard and Linnet 2011). The situation is determined by the triptych: participants, spatial and material elements, temporal dimensions (Michaud-Trévinal and Stenger 2018). The situation is lived and experienced, subjective. It fundamentally depends on the context (or framework; Goffman 1974). The context corresponds to the way the situation is lived, to the interpretation structures, to the cognitive patterns, which each person uses to understand the events that occur (Girin 2016). Any experience can intertwine itself to several frameworks-either primary or transformed frameworks (Goffman 1974)-which are related to each other. Primary frameworks can be natural, involving the laws of nature, or social, involving human intentions. The framework is transformed when it resembles a primary framework but has a different meaning. If the transformation is visible and explicit to all participants, it refers to a keying process (e.g., band rehearsal). If the transformation is hidden and intended to distort the interpretation, it is a fabrication process (e.g., mystery shopper). Three qualitative studies were conducted. At first glance, the results show that video-apéros allow people to "see each other", "get closer" and even "create new links" in the same way as aperitifs. Video-apéros are very much linked to the pandemic context: they allow people to maintain habits despite lockdown- "for me, the videoapéro [...] helps to share things with people close to us with whom we used to have aperitifs before" (Eléonore). This is one of the interests of video-apéros: doing as before, and in a performative way, showing to oneself and to others that everything is fine! The video-apéros resonate with Poulain's aperitif ideal-types (2005) but goes beyond. On the one hand, spontaneous video-apéros are organized following a quick proposal. On the other hand, scheduled video-apéros are organized to live an expected moment. They take three different forms: invitation to the video-apero, planned to try a new mode of social interaction with colleagues; the pre-meal video-apéro, based on the historical principle of appetizers within a closer social circle; the video-apero dinner, close to a buffet dinner with friends or family. However, many frustrations caused by video-apéros tend to keep them away from aperitifs: physical interaction is impossible: "we can't hug each other" (Mireille); verbal or visual interactions are unnatural: "when everyone is talking at the same time, you can't hear yourself' (Bettina); and the restricted and static field of vision causes a certain "weariness". Finally, for most participants, the video-apéro seems to be nothing more than a copy of the real thing in which the interactants play at having an aperitif: "as if you were going out for real and before going out, you wanted to make yourself a bit prettier" (Aline). And in the absence of interaction rules usually imposed by the hosts, participants are surprised once they realize they have a different idea about the unfolding of a video-apéro: "We were having an aperitif, but she wasn't really having an aperitif' (Gabriel). The practice of video-apéro reveals a real proximity to the traditional aperitif, but frame analysis of the consumption experience highlights the variety of situations and contexts. On the one hand, the mediatization of the experience, located in distinct places, prevents face-to-face co-presence. On the other hand, the interactants do not necessarily share the same type of space, materiality and food which usually structure consumption situations (Michaud-Trévinal and Stenger 2018). The variety of situations therefore leads to a diversity of consumption experiences. Framing operations of the consumption experience are also often differentiated. Firstly, participants do not necessarily experience the same type of video-apéro, which leads to ambiguous or even frustrating experiences and to disengagement (Goffman 1974). Secondly, the reference framework is not always shared. For some participants, the video-apéro clearly refers to a primary and social framework: it is an aperitif with a mediated consumption experience. For others, the practice is part of a keying process. The playful dimension of the consumption experience is then prominent, agreeing that one is doing as if while considering that it is not really an aperitif but a copy of the model (Goffman 1974). If all the guests agree, the experience is balanced and the activities are frank. If not, a breakdown is observed. The frustration revealed in our results is symptomatic of participants who would like to privilege a primary social framework but resign themselves to a keying process.</abstract><cop>Urbana</cop><pub>Association for Consumer Research</pub></addata></record> |
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title | The Video-aperitif During Lockdown in France: (Re)Defining Situation and Context of Online Consumption |
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