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Abstract
One of the spheres of transnational consumption of young Brazilians today is the consumption of music in digital media, mainly in different audiovisual formats. Music, which is the main cultural product consumed by young people everyday, is listened to and watched, with different software, apps and devices, mainly through the use of smartphones. In this digital relationship with music, young individuals present different forms of consumption, both in relation to formats – listening only to music, watching a video clip, watching a video with a performance related to the song, recording videos using the song as background or as content – as well as in relation to frequency/speed – in the variety of formats used for consumption, in the edition of songs to micro formats. Based on these perspectives, we present a study developed with Brazilian youth that sought to understand music consumption, analyzing quantity, frequency and diversity, through the application of a questionnaire (N=450), three focus groups (N=24) and an interactive game technique developed by the research team (N=180). Music consumption by Brazilian youth is omnivorous, due to the different musical genres, from different parts of the world, and in different formats, elements that go beyond the idea of transnational taste. It is also the cultural product that is mostly connected to local culture, with local influencers, which show a strong relation to popular culture and also draw possibilities of interaction of local culture with global elements. Voracity is one key element that explains the audiovisual consumption of music by Brazilian youth, in a combination of playlists and videos suggested by algorithms that form an almost endless quantity of references, which are both desired by individuals and recommended by global or local cultural influencers.

AbstractThis paper is part of the research project "Cosmopolitismos juvenis no Brasil" (Youth Cosmopolitanisms in Brazil), partner of the international research project "Cultures Juveniles à l' ère de la globalization". Our aim for this paper is to understand the connection between food and cosmopolitan experiences, discussing two main perspectives of omnivorism studies - (1) that cultural omnivorism cause long-term indifference for cultural diversity; and (2) that this omnivorism indicates only intercultural curiosity translated into specific distinctive capital in fields of power - and the possibility of these visions of cultural omnivorism turn into a reflexive view of the Other. We applied empirical and bibliographic research, including qualitative research with Brazilians aged between 18 and 24 years who are living in the city of São Paulo, and theoretical reflections related to the fields of food and cultural studies, covering omnivorism, otherness and cosmopolitanism. In the case of the first perspective, there is no possibility of connection to otherness, hence, to cosmopolitanism. The analysis of the second perspective shows that it is possible to find threats of distinction connected to cultural and food omnivorism. Therefore, it is still necessary to develop further studies to understand the reflexive dimension of cosmopolitanism within cultural and food consumption.

Gathering scholars from five continents, this edited book displaces the elitist image of cosmopolitan as well as the blame addressed to aesthetic cosmopolitanism often considered as merely cosmetic. By considering aesthetic cosmopolitanism as a tool to understand how individuals and social groups appropriate the sphere of culture in a global world, the authors are concerned with its operationalization on two strongly interwoven levels, macro and micro, structural and individual. Based on the discussion of theoretical perspectives and empirically grounded research (qualitative and quantitative, conducted in many countries), this volume unveils new insights, on tourism and food, architecture and museums, TV series and movies, rock, K-pop and samba, by providing resources for making sense of aesthetic preferences in a global perspective. Contributors are: Felicia Chan, Vincenzo Cicchelli, Talitha Alessandra Ferreira, Paula Iadevito, Sukhmani Khorana, Anne Krebs, Antoinette Kujilaars, Franck Mermier, Sylvie Octobre, Joana Pellerano, Rosario Radakovich, Motti Regev, Viviane Riegel, Clara Rodriguez, Leslie Sklair, Yi-Ping Eva Shi, Claire Thoumelin and Dario Verderame.

La trayectoria de Steve Jobs se refiere a la marca que él fundó, Apple. A partir de las diferentes narraciones relacionadas con la marca, tanto en la historia de su vida, como en la producción de publicidad y de ficción en cine sobre Jobs, tratamos de entender cómo fue la construcción de un mito, como proposición estratégica de consumo del brandscape Apple. Para este estudio, seguimos el camino de análisis del discurso crítico, lo que nos permitió demostrar los diferentes textos e imágenes que componen el mito de la marca Apple, llamado Steve Jobs.