Journal articles on the topic 'Exploitation aversion'

The intention of this paper is to give an overview on the issue of technology exploitation within the context of globalization. Multinational companies which have extended business to the global market have more options regarding utilization of their technologies, thus having greater motivation and more chances for development. However, the global context also complicates technology exploitation. In this paper, we first address what technology exploitation means and the patterns of technology exploitation for multinational companies. Then, the benefits and risks of internationally exploiting technologies are discussed. Next, we shed light on some factors influencing the decision on technology exploitation patterns. Moreover, conceptual models helping firms’ option on technology exploitation pattern from perspectives of cost effectiveness and risk aversion are presented. By focusing on the technology exploitation patterns in the global market, this study holds several implications for the multinational companies to manage their efforts on realization of commercial value of technologies.

ABSTRACT Previous academic research has documented that people experience disutility from potentially being exploited by others beyond what this exploitation may do to their wealth. Such a tendency is labeled as the demand for accountability in accounting, and the psychology behind this phenomenon is labeled more broadly as betrayal aversion in other fields such as sociology. Since the environment is not static for a decision maker, it is important to understand not only that betrayal aversion exists but also how/if its impact on individual decision making varies in response to environmental changes. In this study, we investigate if changed economic conditions (i.e., an economic downturn or upturn) would affect the level of betrayal aversion and its impact on a principal's internal control system choices. The results of our experiment suggest that while the level of betrayal aversion does not change with changed economic conditions, its relative importance on a principal's control system choice decreases (does not change) in an economic downturn (upturn). These findings are consistent with the notion that loss aversion dominates betrayal aversion in control system choices when decision makers are facing an economic downturn. This study suggests that the initial decision motivated by betrayal aversion cannot be assumed to be unaltered when the environment changes.

Reinforcement learning is a fundamental process by which organisms learn to achieve goals from their interactions with the environment. Using evolutionary computation techniques we evolve (near-)optimal neuronal learning rules in a simple neural network model of reinforcement learning in bumblebees foraging for nectar. The resulting neural networks exhibit efficient reinforcement learning, allowing the bees to respond rapidly to changes in reward contingencies. The evolved synaptic plasticity dynamics give rise to varying exploration/exploitation levels and to the well-documented choice strategies of risk aversion and probability matching. Additionally, risk aversion is shown to emerge even when bees are evolved in a completely risk-less environment. In contrast to existing theories in economics and game theory, risk-averse behavior is shown to be a direct consequence of (near-)optimal reinforcement learning, without requiring additional assumptions such as the existence of a nonlinear subjective utility function for rewards. Our results are corroborated by a rigorous mathematical analysis, and their robustness in real-world situations is supported by experiments in a mobile robot. Thus we provide a biologically founded, parsimonious, and novel explanation for risk aversion and probability matching.

Western resource-based city (WRC) develops rapidly under the develop-the-west and energy resource development strategy. Both of the economy growth and the resource exploitation will make greater demands on the science of power network planning. Therefore, urban power network planning will face more specific risks. Based on fuzzy membership theory, this paper studies the risk identification of WRC power network planning, and summarizes the key risks. Finally, we identify the risks from aspects of policy, economy, environment and load systematically, establish an evaluation index system of specific risks of WRC power network planning, and provide fundamental decisions for risk aversion of WRC power network.

AbstractThis research evaluates three reasons against the use of interest. One reason is that interest is a tool of exploitation. It contradicts facts because nowadays ultimate borrowers are businessmen and ultimate lenders are salaried individuals, the former being financially better off than the latter. The second reason is that interest-based external financing leads to unfair distribution of profits. Although this reasoning is not wrong, it is not very appealing in positive economics. Having noted that risk aversion is applauded in both conventional and Islamic economics, this author has propounded a third reason which states that the risk of an investment is least when financed exclusively by equity. This reasoning is easily understandable to conventional economists and is proved mathematically in this article. Therefore it provides a sound economic footing for prohibition of interest.

Background: Gathering and evaluating information leads to better decisions, but often at cost. The balance between information seeking and exploitation features in neurodevelopmental, mood, psychotic and substance-related disorders. Serotonin’s role has been highlighted by experimental reduction of its precursor, tryptophan. Aims: We tested the boundaries and applicability of this role by asking whether changes to information sampling would be observed following acute doses of serotonergic and catecholaminergic clinical treatments. We used a variant of the Information Sampling Task (IST) to measure how much information a person requires before they make a decision. This task allows participants to sample information until satisfied to make a choice. Methods: In separate double-blind placebo-controlled experiments, we tested 27 healthy participants on/off 20 mg of the serotonin reuptake inhibitor (SRI) citalopram, and 22 participants on/off 40 mg of the noradrenergic reuptake inhibitor atomoxetine. The IST variant minimised effects of temporal impulsivity and loss aversion. Analyses used a variety of participant prior expectations of sampling spaces in the IST, including a new prior that accounts for learning of likely states across trials. We analysed behaviour by a new method that also accounts for baseline individual differences of risk preference. Results: Baseline preferences demonstrated risk aversion. Citalopram decreased the expected utility of choices and probability of being correct based on informational content of samples collected, suggesting participants collected less useful information before making a choice. Atomoxetine did not influence information seeking. Conclusion: Acute changes of serotonin activity by way of a single SRI dose alter information-seeking behaviour.

The Internet and social media have opened niches for political exploitation of human dispositions to hyper-alarmed states that amplify perceived threats relative to their objective probabilities of occurrence. Researchers should aim to observe the dynamic “ramping up” of security threat mechanisms under controlled experimental conditions. Such research necessarily begins from a clear model of standard baseline states, and should involve adding treatments to established experimental protocols developed by experimental economists. We review these protocols, which allow for joint estimation of risk preferences and subjective beliefs about probabilities and their distributions. Results we have obtained on such estimates, from populations in various countries, are gathered for comparison. Most people show moderate risk aversion in non-alarmed states. We also find universal heterogeneity in risk preference structures, with substantial sub-samples weighting probabilities in such a way as to display “probability pessimism” (rank dependent utility), while others make risky choices in accordance with expected utility theory.

This article draws upon the theories of entrepreneurial cognition, planned behavior, and criminal desistance to understand the role of entrepreneurship education in the behavioral and cognitive transformation of incarcerated individuals. Specifically, this article considers how participation in an entrepreneurship education program should influence entrepreneurial opportunity recognition, cognitive transformation, and institutional misconduct. It suggests these changes are more likely to influence an incarcerated person’s entrepreneurial intentions and criminal desistance. The six propositions presented shed light on how an incarcerated individual’s willingness to change his or her attitudes and develop an entrepreneurial mind-set influence his or her behavior in prison and prepares him or her to prosper in a dynamic and complex world after release. This article argues that the study of one’s transformation while incarcerated through the discovery, evaluation, and exploitation of opportunities is likely to advance empirical and theoretical perspectives of the fields of entrepreneurship. The examination of how incarcerated persons deal with fear of failure, risk aversion, and identity, in particular, presents great opportunities for future research.

We consider a region suffering from irrigation water scarcity. Candidate crops differ widely in their growth cycles, economic values and water consumption. We develop an integrated dynamic programming-mixed integer programming model to solve for optimal land exploitation over a one year horizon for multiple crops. The model applies deficit irrigation in order to increase the irrigated area at the expense of reducing crop yield per unit area. The dynamic program (DP) guarantees that deficit irrigation is only considered when it is economically efficient. Moreover, it provides optimal combinations of irrigation levels for each growth stage of candidate crops, accounting for the varying impact of water stress over time and the seasonal supply of irrigation water. The output of the DP serves as input to the mixed integer program (MIP). The MIP selects the most profitable crops in the right sequence to benefit the most from the crop-yield dependence on crop predecessor and allocates water and land optimally to maximize total profit. The objective function accounts for the attitude of the decision-maker toward risk by incorporating in its expression a risk-aversion coefficient.

Neutralists have argued that there is something illiberal about linking access to gift-like resources to work requirements. The central liberal motivation for basic income is to provide greater freedom to choose between different ways of life, including options attaching great importance to non-market activities and disposable time. As argued by Philippe Van Parijs, even those spending their days surfing should be fed. This article examines Van Parijs' dual commitment to a ‘real libertarian’ justification of basic income and the public enforcement of a strong work ethos, which serves to boost the volume of work at a given rate of taxation. It is argued (contra Van Parijs) that this alliance faces the neutrality objection: the work ethos will largely offset the liberal gains of unconditionality by radically restricting the set of permissible options available. A relaxed, non-obligatory ethos might avoid this implication. This view, however, is vulnerable to the structural exploitation objection: feasibility is achieved only because some choose to do necessary tasks to which most people have the same aversion. In light of these objections, the article examines whether there is a morally untainted feasibility path consistent with liberal objectives.

Unmanned Aerial Vehicle (UAV)-assisted Multi-access Edge Computing (MEC) systems have emerged recently as a flexible and dynamic computing environment, providing task offloading service to the users. In order for such a paradigm to be viable, the operator of a UAV-mounted MEC server should enjoy some form of profit by offering its computing capabilities to the end users. To deal with this issue in this paper, we apply a usage-based pricing policy for allowing the exploitation of the servers’ computing resources. The proposed pricing mechanism implicitly introduces a more social behavior to the users with respect to competing for the UAV-mounted MEC servers’ computation resources. In order to properly model the users’ risk-aware behavior within the overall data offloading decision-making process the principles of Prospect Theory are adopted, while the exploitation of the available computation resources is considered based on the theory of the Tragedy of the Commons. Initially, the user’s prospect-theoretic utility function is formulated by quantifying the user’s risk seeking and loss aversion behavior, while taking into account the pricing mechanism. Accordingly, the users’ pricing and risk-aware data offloading problem is formulated as a distributed maximization problem of each user’s expected prospect-theoretic utility function and addressed as a non-cooperative game among the users. The existence of a Pure Nash Equilibrium (PNE) for the formulated non-cooperative game is shown based on the theory of submodular games. An iterative and distributed algorithm is introduced which converges to the PNE, following the learning rule of the best response dynamics. The performance evaluation of the proposed approach is achieved via modeling and simulation, and detailed numerical results are presented highlighting its key operation features and benefits.

Abstract. A large effort has been made over the past 10 years to promote the operational use of probabilistic or ensemble streamflow forecasts. Numerous studies have shown that ensemble forecasts are of higher quality than deterministic ones. Many studies also conclude that decisions based on ensemble rather than deterministic forecasts lead to better decisions in the context of flood mitigation. Hence, it is believed that ensemble forecasts possess a greater economic and social value for both decision makers and the general population. However, the vast majority of, if not all, existing hydro-economic studies rely on a cost–loss ratio framework that assumes a risk-neutral decision maker. To overcome this important flaw, this study borrows from economics and evaluates the economic value of early warning flood systems using the well-known Constant Absolute Risk Aversion (CARA) utility function, which explicitly accounts for the level of risk aversion of the decision maker. This new framework allows for the full exploitation of the information related to a forecasts' uncertainty, making it especially suited for the economic assessment of ensemble or probabilistic forecasts. Rather than comparing deterministic and ensemble forecasts, this study focuses on comparing different types of ensemble forecasts. There are multiple ways of assessing and representing forecast uncertainty. Consequently, there exist many different means of building an ensemble forecasting system for future streamflow. One such possibility is to dress deterministic forecasts using the statistics of past error forecasts. Such dressing methods are popular among operational agencies because of their simplicity and intuitiveness. Another approach is the use of ensemble meteorological forecasts for precipitation and temperature, which are then provided as inputs to one or many hydrological model(s). In this study, three concurrent ensemble streamflow forecasting systems are compared: simple statistically dressed deterministic forecasts, forecasts based on meteorological ensembles, and a variant of the latter that also includes an estimation of state variable uncertainty. This comparison takes place for the Montmorency River, a small flood-prone watershed in southern central Quebec, Canada. The assessment of forecasts is performed for lead times of 1 to 5 days, both in terms of forecasts' quality (relative to the corresponding record of observations) and in terms of economic value, using the new proposed framework based on the CARA utility function. It is found that the economic value of a forecast for a risk-averse decision maker is closely linked to the forecast reliability in predicting the upper tail of the streamflow distribution. Hence, post-processing forecasts to avoid over-forecasting could help improve both the quality and the value of forecasts.

Anthropo-entomophagy has evolved in many ways, from the point of view of collection, marketing and consumption, and for the insects’ organoleptic qualities. Brazil, Colombia, Venezuela, Ecuador, Peru, and Mexico due to their sociocultural origin, stand out as the Latin American countries that have the habit of consuming insects by presenting both a biological and an ethnic diversity. Edible species are eaten both as immature (eggs, larvae, pupae, and nymphs) and in some cases as adults. They are ingested whole or in parts, as well as in the products they produce, such as honey, propolis, pollen, and wax. Many insect species are consumed not only as food but also as medicine, and this provides a relevant contribution to the phenomenon of zootherapy, as well as opening new prospects for the economic and cultural valorisation of animals usually regarded as useless. The ingestion of a variety of edible species contributes to the nutritional health of indigenous, traditional peoples, as well as those individuals who live in urban areas who use this kind of food resource, in accordance with their seasonal abundance. Some field studies corroborate that although the tradition of eating insects has faced several changes, it has been maintained for a long time thanks to intergenerational knowledge. However, the aversion to edible insects is the reason why a considerable amount of animal protein becomes unavailable since the phenomenon is regarded as ‘primitive peoples’ practice’. If the rich biosociodiversity found in Latin American countries is taken into account, then it can be said that the phenomenon of anthropo-entomophagy has been underestimated. Considering the nutritional qualities that insects have, they should be considered as renewable resources available for sustainable exploitation aiming at reducing the problem of malnutrition and hunger in many parts of the world.

Historians of economics rarely consider textbooks as more than passive receptacles of previously validated knowledge. Therefore, their active role in shaping the discipline and its image is seldom addressed. In this paper, I study the making of Paul Samuelson’s successive editions of Economics from 1967 to 1973 as an instance of how textbooks stand at the crossroads between disciplinary knowledge, pedagogy, and larger political and societal concerns. In the mid-1960s, Economics, now at its sixth edition, was at the height of its success. Considered one cornerstone of modern economics, it was also at the center of a number of criticisms dealing with the current state of the economic discipline and its teaching in the universities. While the profession expressed its concern over the lack of relevance of economics to address the pressing issues of the day and pleaded for a new “problem-solving” approach to economic education, the late 1960s witnessed the emergence of a new generation of “radical” economists criticizing the economics orthodoxy. Their contention that mainstream theory had neglected the issues of class struggle and capitalist exploitation found a favorable echo among an increasingly politicized population. Using archival materials, I show how Samuelson, helped by his editorial team at McGraw-Hill, attempted to take into account these changes in order to ensure the continuing success of subsequent editions of his text in an increasingly competitive market. This study emphasizes Samuelson’s ambiguous attitude toward his contenders, revealing, on the one hand, his apparent openness to discussion and outsiders’ suggestions, and, on the other hand, his firm attachment to mildly liberal politics and aversion to Marxism, unchanged through revisions. It also helps refine a notion that is often invoked but never fully expounded in textbook studies: that of the audience.

Many studies have reported the aversive reactions of prey towards a predator's odour signals (e.g. urine marks), a behaviour widely thought to reduce the risk of predation by the predator. However, because odour signals persist in the environment, they are vulnerable to exploitation and eavesdropping by predators, prey and conspecifics. As such, scent patches created by one species might attract other species interested in information about their enemies. We studied this phenomenon by examining red fox investigation of odours from conspecifics and competing species in order to understand what prey are responding to when avoiding the odours of a predator. Surprisingly, foxes showed limited interest in conspecific odours but were highly interested in the odours of their competitors (wild dogs and feral cats), suggesting that odours are likely to play an important role in mediating competitive interactions. Importantly, our results identify that simple, dyadic interpretations of prey responses to a predator odour (i.e. cat odour = risk of cat encounter = fear of cats) can no longer be assumed in ecological or psychology research. Instead, interactions mediated by olfactory cues are more complex than previously thought and are likely to form a complicated olfactory web of interactions.

This study examined the effects of risk-taking and exploitation/exploration trade-off on divergent thinking in individuals, dyads, and triads. We adopted a simple Q-learning model to estimate risk attitudes, exploitation, and exploration parameters. The results showed that risk-taking, exploitation, and exploration did not affect divergent thinking in dyads. Instead, loss aversion was negatively related to divergent thinking. In contrast, risk attitudes and the inverse temperature as a ratio between exploitation and exploration were significant but with contrasting effects in individuals and triads. For individuals, risk-taking, exploitation and loss aversion played a critical role in divergent thinking. For triads, risk aversion and exploration were significantly related to divergent thinking. However, the results also indicated that balancing risk with exploitation/exploration and loss aversion is critical in enhancing divergent thinking in individuals and triads when learning coherence emerges. These results could be interpreted consistently with related literature such as the odd-vs. even-numbered group dynamics, knowledge diversity in group creativity, and representational change theory in insight problem-solving.

The text is an analysis of the relations between a hiding Jewess, Fela Fischbein, and her landlady, a Polish woman, Katarzyna Dunajewska. In hiding, Fela wrote her diary, which was the basis for the description of her feelings, experiences, her perception of the Poles who helped her, and her change of attitude toward them. The hiding Jewess moves from gratitude to the Poles to disappointment and aversion, which is caused by the attitude of the Poles to the Jews who needed help: financial exploitation of their situation and denouncing them to the Germans.

Reward exploitation and aversion are mediated in part by the locus coeruleus (LC), a brainstem structure significantly involved in learning and memory via the release of norepinephrine. Different LC firing patterns are associated with different functions. Previously, we have shown that high tonic and phasic LC activation signal negative and positive valence, respectively, via basolateral amygdala (BLA) circuitry. Tonic LC activation is associated preferentially with BLA-central amygdala (CeA) activation, while phasic LC stimulation preferentially recruits the BLA-nucleus accumbens (NAc) pathway. Here, we ask if phasic and tonic LC activation-associated valence learning requires different adrenoceptors in the BLA, in comparison with the odor valence learning induced by natural reward and aversive conditioning. Using optogenetic activation of the LC and local drug infusions in the BLA, we show that phasic LC activation-induced positive odor valence learning is dependent on both α1 and β-adrenoceptors, whereas tonic LC activation induced-negative odor valence learning depends on β-adrenoceptors only. In parallel, both α1 and β-adrenoceptors were required in the odor valence learning induced by reward while aversive conditioning was dependent on β-adrenoceptors. Phasic stimulation and reward conditioning likewise activated more NAc-projectors of the BLA, in comparison to tonic and aversive conditioning. There was a higher proportion of α1+ cells in the NAc-projectors compared to CeA-projectors in the BLA. Together, these results provide insight into the mechanisms underlying the effects of tonic and phasic activation of the LC, and more generally, negative and positive valence signaling.

Abstract We introduce a reinforcement learning framework for retail robo-advising. The robo-advisor does not know the investor’s risk preference but learns it over time by observing her portfolio choices in different market environments. We develop an exploration–exploitation algorithm that trades off costly solicitations of portfolio choices by the investor with autonomous trading decisions based on stale estimates of investor’s risk aversion. We show that the approximate value function constructed by the algorithm converges to the value function of an omniscient robo-advisor over a number of periods that is polynomial in the state and action space. By correcting for the investor’s mistakes, the robo-advisor may outperform a stand-alone investor, regardless of the investor’s opportunity cost for making portfolio decisions.

AbstractIn many online markets, we observe fierce competition and highly dynamic price adjustments. Competitors frequently adjust their prices to respond to changing market situations caused by competitors’ price adjustments. In this paper, we examine price response strategies within an infinite horizon duopoly where the competitor’s strategy has to be learned. The goal is to derive knowledge about the opponent’s pricing strategy in a self-adaptive way and to balance exploration and exploitation. Our models are based on anticipated price reaction probabilities and efficient dynamic programming techniques. We show that our approach works when played against unknown strategies. Further, we analyze the mutual interplay of our self-learning strategies as well as their tendencies to form a cartel when motivated accordingly. Moreover, we propose two extensions of our model to integrate risk aversion. Finally, we demonstrate the effectiveness of parallelization techniques to speed up the computation of strategies as well as their simulation.

Using taxicab tipping records in New York City (NYC), we develop a novel measure of real-time utility and quantitatively assess the impact of wealth change on the well-being of individuals based on the core tenet of prospect theory. The baseline estimate suggests that a one-standard-deviation increase in the stock market index is associated with a 0.3% increase in the daily average tipping ratio, which translates to an elasticity estimate of 0.3. The impact is short-lived and in line with the wealth effect interpretation. Consistent with loss aversion, we find that the impact is primarily driven by wealth loss rather than gain. We exploit Global Positioning System and timestamp information and design two difference-in-differences tests to establish causal inference. Exploitation of the characteristics of individual stocks suggests that the effect of wealth change on real-time utility is more pronounced in the stocks of firms with large market capitalization. Finally, our aggregate estimate suggests that annual tip revenue in the NYC taxi industry is associated with stock market fluctuations, ranging from −$17.5 million to $12.9 million. This paper was accepted by Tyler Shumway, finance.

Health crises spawn “sins” and moral deformities in society that are evident when they emerge but had seemed to be dormant to collective awareness before. Through the metaphor of the seven capital sins, the article analyzes the phenomenon of fake news in the social media and in the scenario of the COVID-19 pandemic: the lust of sensationalism through the seduction and exploitation of vulnerabilities associated with fear of death; gluttony for confirmatory contents that spread untruths in the attempt to turn versions into facts; the catechism of denialism, fueling wrath or hate in restrictive epistemic environments; the greed of new technologies in the attention economy through engagement as a new commodity; competition for the spotlights of media visibility and derived gains that incite pride and envy in researchers that confuse public meaning with fake research, in a cycle that feeds sensationalism, gluttony, hate, and greed in attention capitalism. Finally, sloth is portrayed as the capital sin of opting for communicative inaction. In the comfort of bubbles, people renounce dialogue out of aversion to dissent, settling for positions of epistemic comfort. In short, the fake news phenomenon in the COVID-19 pandemic is portrayed here as the convergence of various vices that materialize as misinformation, in the communicative vacuity of the moments in which we are obliged to address each other to share our worldviews.

Still, there is a lack of research on the dark side or destructive leadership. The purpose of this research is to add the literature on the two shades of destructive leadership, that are aversive and exploitative leadership, and their shadow in the form of counterproductive work behavior on the nursing professionals. Using 485 samples collected from the nurses of different hospitals of Pakistan, the model is tested through multiple linear hierarchical regressions, correlation analysis, and confirmatory factor analysis in Smart PLS software. The results reveal that people working under aversive and exploitative leaders are more likely to indulge in counterproductive work behavior. Still, proactive personalities have an essential impact which weakens the relationship between destructive leadership and counterproductive work behavior. Results of this study describe a vital requirement for corporate leaders to strengthen their recruitment process in such a way that people with aversive and exploitative attitudes ought to understand how to treat their subordinates before they enter top roles to discourage their workers from indulging in counterproductive behavior.

Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic— as a powerful pop cultural force, not merely a subcultural or cult expression. By interpreting Del Rey’s work as a both a component of, and a contributor to, the Pop Gothic advance, themes of social climate, consumer culture, gender identity, sexuality and the male gaze can be interrogated. Indeed the potential for a collective crisis of these issues in early 21st Century western culture is exposed, “the façade of carnivalised surfaces is revealed to hide the chaos and entropy of existential emptiness.” (Yeo 17). Gothic modes have been approximated by Pop Gothic into the mainstream (Edwards and Monnet) as a driving force behind these contradictions and destabilisations. The Gothic has become ubiquitous within popular culture and continues to exert influence. This is easily reflected in the $392 million the first Twilight movie grossed at the box office (Edwards and Monnet). Examples are abundant in pop culture across music, film and television. Edwards and Monnet cite the movies Zombieland and Blade in the Pop Gothic march, along with TV shows including Buffy the Vampire Slayer, Being Human, True Blood as well as Lady Gaga’s Fame Monster music album. Edwards and Monnet observe that the Gothic aesthetics of the 1980s and 1990s, “melancholy and imagery associated with death, dying and the undead” (3), shifted from the corners of subculture to the mainstream of millennial popular culture. With this shift comes the rebelliousness and melancholy that characterises Gothic texts. This is evident when a pop star of Lana Del Rey’s popularity —her Summertime Sadness video alone has over 160 million views on youtube.com (YouTube)— narratively represents themes of death and suicide repeatedly in her videos. In two of Lana Del Rey’s music videos —Blue Jeans and Born to Die— either she or a representation of her persona dies. In a third video, Summertime Sadness, her companion takes her own life and Lana ultimately follows suit. Themes of death and loss are just the most obvious of Gothic elements present in Del Rey’s work. Del Rey’s songs and videos speak of the American dream, of aestheticised beauty, of being immaculately presented, well dressed and having hair “beauty queen style”, as in Summertime Sadness. She depicts an excess of hedonistic consumption and love that knows no bounds, not even death. Much of the delivery has resonance with the Gothic; performatively, visually and musically, and shows a subversion and fatalism that juxtaposes, contests and contradicts pop cultural tropes (Macfarlane). This contrary nature of the Gothic, as characterised by Botting, can provoke a sense of otherness; the uncanny, including “displays of uncontrolled passion, violent emotion or flights of fancy to portrayals of perversion or obsession” (Gothic 2). It is argued that these characteristics have been commodified into merchandisable and mainstream stylistic representations (Edwards and Monnet). Del Rey’s visual work uses this otherness and representation of repressed darkness as subversion or contestation to the bubble gum consumerist, fairy tale sexualisation of the Katy Perry brand of neo-liberal pop music that floods the mainstream (Macfarlane). Del Rey also harnesses the Gothic mode in her music, underscoring social anxieties through moments of sound which act as “a sonic imp, this music enters perception through the back door, and there it does its destabilising work” (van Elferen 137). As potential psychosocial sources of this otherness in the Gothic (Botting, Gothic), Jung argued that as a collective consciousness by repressing our darkest side, we can be dislocated from it. Further he argued that many modern ills —conflict, war, disenfranchisement, poverty— stem from culturally rationalised divisions of ‘good vs evil’ (Tacey). Providing a space for these dark sides to surface, Swirski comments that cultural product can act "as a social barometer and a cultural diagnostic tool. It identifies social trends and cultural patterns and weaves elaborate counterfactuals- literary fictions- that hang human faces on large-scale human abstractions such as society and culture" (1). Jung proposes the large-scale social abstraction; that to truly live with ourselves we need embrace the otherness inside us— to learn to live with it (Tacey). The Gothic may enable this living with, rather than living without. Jung asserts that we now rely so much on what we can touch, taste and own, that western culture has become a “creed without substance” (Tacey 32). In more concrete terms, Hoffie argues that popular media today tells stories: in terms of disaster and crisis: weather patterns: disastrous. Climate Change: disastrous. Global Financial Crisis: disastrous. Political situations: disastrous. Unemployment: disastrous. And so on. The high-pitched wail of this lament corrodes the peaks and troughs of potential emotional responsiveness; the vapours of benumbing apathy steam upwards like a bewitching spell. All stands still. Action, like in a bad dream, seems impossible. (14) This apathy in the face of crisis or disaster is well expressed in Del Rey’s work through the Gothic influenced lyrics and videos; she describes her partner as so good looking as to be “sick as cancer” in Blue Jeans and that her lover left her because he was “chasing paper”. Represented here is the social current that the need to acquire goods in late capitalism’s climate “of unrestrained consumerism” (Heine and Thakur 2) is her lover’s priority over companionship. Revealing more of the Gothic aesthetic is that her videos and songs represent this loss, they depict “disturbances of sanity and security” (Botting, Gothic 2) and thematically reflect the social climate of “disaster and crisis” (Hoffie 14). This sense of otherness through Gothic influences of the uncanny, death and melancholy have a significant impact on creative expression creating music videos that play like a kind of half remembered nightmare (Botting, Love Your Zombie; Macfarlane). In the black and white video for Blue Jeans the opening shot shows an image of Del Rey rippling and blurred, framed by circular waves of water as black as oil. The powerful Gothic aesthetic of the abyss is rendered here, “to convey the figurative meaning of a catastrophic situation seen as likely to occur whereby the individual will sink to immeasurable intellectual, ethical or moral depths” (Edwards and Monnet 9). This abyss is represented as Del Rey sings to her ghostly tattooed lover that she will love him until “the end of time” and climaxes in the suggestion that he drowns her. As in Edwards and Monnet‘s description of zombie films, Del Rey’s videos narratively “suggest that the postmodern condition is itself a form of madness that disseminates cultural trauma and erases historical memory” (8). This view is evident in contrasting Del Rey’s interview comment that she finds conversations about feminism boring (Cooper). Yet in her song delivery and lyrics she retains an ironic tone regards feminine power. This combination helps “produce a darkly funny and carnivalesque representation of sex and waste under late capitalism” (Edwards and Monnet 8). Further evidence of these ironies and distorted juxtapositions of loss and possession are evident in the song Radio. The video —a bricolage of retrospective fashion imagery— and lyrics hint at the persistent desire for goods in US western culture (Heine and Thakur). Simultaneously in her song Radio, she is corruptibly engorged by consumption and being consumed (Mulvey) as she sings that life is “sweet like cinnamon, a fucking dream on Ritalin”. The video itself represents distorted dreams hyper-real on Ritalin. Del Rey’s work speaks of an excess; the overflow of sensations, sexual excess, of buying, of having, of owning, and at the same time the absence; of loss or not knowing what to have (Botting, Love Your Zombie). Exemplified by the lyrics in What Makes Us Girls, “do I know what I want?” and again in Radio “American dreams came true somehow, I swore I’d chase until I was dead”. Increasingly it is evident that Del Rey sings “as a woman who does not know what she wants” (Vigier 5). She illustrates the “endemic narcissism” (Hoffie 15) of contemporary western culture. Del Rey therefore clearly delineates much of “the loneliness, emptiness, and alienation that results from rampant consumerism and materialism under advanced capitalism” (Edwards and Monnet 8). As a theme of this representation, Del Rey implies a sense of commodified female sexual energy through the male gaze (Mulvey), along with a sense of wasted youth and opportunity in the carnivalesque National Anthem. The video, shot as if on Super 8 film, tells the story of Del Rey’s ‘character’ married to a hedonistic style of president. It is reminiscent of the JFK story including authentic and detailed presentation of costume —especially Del Rey’s Jackie Onassis fashions— the couple posing in presidential gardens with handsome mixed-race children. Lavish lifestyles are depicted whilst the characters enjoy drinking, gambling and consumerist excess, Del Rey sings "It's a love story for the new age, For the six page, We're on a quick sick rampage, Wining and dining, Drinking and driving, Excessive buying, Overdose and dyin'". In National Anthem sexual excess is one of the strongest themes communicated. Repeatedly depicted are distinct close up shots of his hand on her thigh, and vice versa. Without being sexually explicit in itself, it is an overtly sexual reference, communicating something of sexual excess because of the sheer number of times it is highlighted in close-up shots. This links to the idea of the Gothic use of jouissance, a state of: excessive energies that burst in and beyond circuits of pleasure: intensities are read in relation to a form of subjectivity that finds itself briefly and paradoxically in moments of extreme loss. (Botting, Love Your Zombie 22) Del Rey represents these moments of loss —of herself, of her man, of her power, of her identity being subsumed by his— as intense pleasure, indicated in the video through sexual referencing. Botting argues that these excesses create anxieties; that in the pursuit of postmodern excess, of ownership, of consumption: the subject internalises the inconsistencies and contradictions of capitalism, manifesting pathologies not of privation but overabundance: stress, eating disorders, self-harming, and a range of anxieties. (Love Your Zombie 22) These anxieties are further expressed in National Anthem. Del Rey sings to her lover that he cannot keep his “pants on” and she must “hold you like a python”. The python in this tale simultaneously symbolises the exotic, erotic and dangerous entrapment by her male suitor. Edwards and Monnet argue for the Gothic monster, whose sign is further referenced as Del Rey swims with crocodiles in Blue Jeans. Here the male power, patriarchy and dominance is represented as monstrous. In the video she shares the pool with her beau yet we only see Del Rey swim and writhe with the crocodiles. Analogous of her murderous lover, this adds a powerful otherness to the scene and reinforces the symbols of threatening masculinity and impeding disaster. This expression of monstrousness creates a cathartic tension as it “puts the ‘pop’ in Pop Goth: its popularity is based on the frisson of selling simultaneous aversion from and attraction to self-destruction and cultural taboo” (Edwards and Monnet 9). In a further representation of anxieties Del Rey conforms to the sexual object persona in large part through her retro pin-up iconography —meticulous attention to costume, continuous posing and pouting— and song lyrics (Buszek). As in National Anthem her lyrics talk of devotion and male strength to protect and to “keep me safe in his bell tower”. Her videos, whilst they may show some of her strength, ultimately reside in patriarchal resolution (Mulvey). She is generally confounded by the male figures in her videos appearing to be very much alone and away from them: most notably in Blue Jeans, Born to Die and Video Games. In two cases it is suggested she is murdered by the male figures of her love. Her costume and appearance —iconic 1960’s swimsuits, pantsuits and big hairstyles in National Anthem— portray something of the retro pin-up. Buszek argues that at one time “young feminists may poke fun at the pin-up, but they do so in ways that betray affinities with, even affection for, the genre itself” (3). Del Rey simultaneously adheres to and confronts these normative gender roles, as is characteristic of the Gothic mode (Botting, Gothic). These very Gothic contradictions are also evident in Del Rey’s often ironic or mocking song delivery, undermining apparent heteronormative sexual and gender positioning. In National Anthem she sings, as if parodying women who might sincerely ask, “do you think he’ll buy me lots of diamonds?”. Her conformity is however, subverted. In Del Rey’s videos, clear evidence exists in her facial expressions where she consistently portrays Gothic elements of uncertainty, sorrow, grief and a pervading sense that she does not belong in this world (Botting, Gothic). Whilst depicted as a brooding and mourning widow —simultaneously playing the mistress luxuriating on a lion skin rug— in National Anthem Del Rey sings, “money is the anthem of success” without a smile or sense of any attachment to the lyrics. In the same song she sings “God you’re so handsome” without a trace of glee, pleasure or optimism. In the video for Blue Jeans she sings, “I will love you til the end of time” staring sorrowfully into the distance or directly at the camera. This confident yet ‘dead stare’ emphasises the overall juxtaposition of the largely positive lyrical expression, with the sorrowful facial expression and low sung notes. Del Rey signifies repeatedly that something is amiss; that the American dream is over and that even with apparent success within this sphere, there exists only emptiness and isolation (Botting, Love Your Zombie). Further contradictions exist as Lana Del Rey walks this blurred line —as is the Gothic mode— between heteronormative and ambiguous gender roles (Botting, Gothic; Edwards and Monnet). Lana Del Rey oscillates between positions of strength and independence —shown in her deadpan to-camera delivery— to that of weakness and subjugation. As she plays narrator, Del Rey symbolically reclaims some power as she retells the tragic story of Born to Die from her throne. Represented here Del Rey’s persona exerts a troubled malevolence, with two tigers calmly sat by her side: her benevolent pets, or symbols of contrived excess. She simultaneously presents the angelic —resplendent in sheer white dress and garland ‘crown’ headdress of the spurned bride in the story— and the stoic as she stares down the camera. Del Rey is powerful and in many senses threatening. At one point she draws a manicured thumbnail across her neck in a cut-throat gesture; a movement echoed later by her lover. Her character ultimately walks symbolically —and latently— to her death. She neither remedies her position as subservient, subordinate female nor revisits any kind of redemption for the excessive male dominance in her videos. The “excess is countered by greater excess” (Botting Love Your Zombie 27) and leads to otherness. In this reading of Del Rey’s work, there are representations that remain explicitly Pop Gothic, eliciting sensations of paranoia and fear, overloading her videos with these signs (Yeo). These signs elicit the otherness of the Gothic mode; expressed in visual symbols of violence, passion or obsession (Botting, Gothic). In our digital visual age, subjecting an eager viewer to this excess of signs creates the conditions for over-reading of a growing gender or consumerist paranoia, enabled by the Gothic, “paranoia stems from an excessive over-reading of signs and is a product of interpretation, misinterpretation and re-interpretation based on one’s knowledge or lack of it” (Yeo 22). Del Rey stimulates these sensations of paranoia partly through interlaying intertextual references. She does this thematically —Gothic melancholy— and pop culturally channelling Marilyn Monroe and other fashion iconography, as well as through explicit textual references, as in her most recent single Ultraviolence. In Ultraviolence, Del Rey sings “He hit me and it felt like a kiss”. Effortlessly and simultaneously she celebrates and lays bare her pain; however the intertextual reference to the violent controversy of the film A Clockwork Orange serves to aestheticise the domestic violence she describes. With Del Rey it may be that as meaning is sought amongst the texts as Macfarlane wrote about Lady Gaga, Del Rey’s “truth is ultimately irrelevant in the face of its interlayed performance” (130). Del Rey’s Gothic mode of ambiguity, of transgressed boundaries and unclear lines, shows “this ambience of perpetually deferred climax is no stranger to contemporary culture” (Hoffie 15) and may go some way to expressing something of the “lived experience of her audience” (Vigier 1). Hermes argues that in post-feminist pop culture, strong independent post-feminist women can be characterised by their ability to break traditional taboos, question or hold up for interrogation norms and traditions, but that ultimately narrative arches tend to restore the patriarchal norm. Edwards and Monnet assert that the Gothic in Pop Gothic cultural representation can become “post-race, post-sexuality, post-gender” (6). In places Del Ray exhibits this postmodernism but through the use of Gothic mode goes outside political debates and blurs clear lines of feminist discourse (Botting, Love Your Zombie). Whilst a duality in the texts exists; comments on consumerism, the emptiness of capitalist society and a suicidal expression of hopelessness, are undermined as she demonstrates conformity to subservient gender roles and her ambiguously ironic need to be “young and beautiful”. To be consumed by her man thus defines her value as an object within a consumerist neo-liberal trope (Jameson). This analysis goes some way to confirming Hermes’ assertion that in this post-feminist climate there has been a “loss of a political agenda, or the foundation for a new one, where it signposts the overcoming of unproductive old distinctions between feminist and feminine” (79). Hermes further argues, with reference to television shows Ally McBeal and Sex and the City, that presentation of female characters or personas has moved forward; the man is no longer the lone guarantor of a woman’s happiness. Yet many of the tropes in Del Rey’s work are familiar; overwhelming love for her companion equal only to the emphasis on physical appearance. Del Rey breaks taboos —she is powerful, sexual and a romantic predator, without being a demon seductress— and satirises consumerist excess and gender inequality; yet she remains sexually and politically subservient to the whim and sometimes violently expressed or implied male gaze (Mulvey). Del Rey may well represent something of Vigier’s assertion that whilst society has clear direction for the ‘success’ of women, “that real liberation and genuine satisfaction elude them” (1). In closing, there is no clear answer as to whether Del Rey is a Beauty Queen or Gothic Princess; she is neither and she is both. In Vigier’s words, “self-exploitation or self-destruction cannot be the only choices open to young women today” (13). Del Rey’s work is provocative on multiple levels. It hints at the pull of rampant consumerism and the immediacy of narcissistic desires, interlinked with contradictions which indicate the potential for social crises. This is shown in Del Rey’s use of the Gothic — otherness, the monstrous, darkness and death— and its juxtaposition with heteronormative gender representations which highlights the persistent commodification of the female body, its subjugation to male power and the potential for deep anxieties in 21st-century identity. References Blue Jeans. Dir. Yoann Lemoine. Perf. Lana Del Rey. Interscope Records, 2012. Botting, Fred. Gothic. New York: Routledge, 2014. Botting, Fred. "Love Your Zombie." The Gothic in Contemporary Literature and Popular Culture. Ed. Edwards, Justin and Agnieszka Monnet. New York: Routledge, 2012. 19-36. Buszek, Maria. Pin-Up Grrrls Feminism, Sexuality and Popular Culture. London: Duke University Press, 2006. Cooper, Duncan. "Lana Del Rey Cover Interview." Fader, June 2014. Edwards, Justin, and Agnieszka Monnet. "Introduction." The Gothic in Contemporary Literature and Popular Culture. Eds. Justin Edwards and A. Monnet. New York: Routledge, 2012. 1-18. 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