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Planned Obsolescence

Research Group: Cultural and Creative Industries

Planned obsolescence, often presented as a malevolent practice facilitated by monopolies or cartels, is in fact a more systemic issue ingrained in business-as-usual. In this research project, we investigate planned obsolescence not as an exception but as a result of dominant economic principles focused on competition and linear revenue models. Regulatory interventions offer limited solutions. Therefore, we aim to explore alternatives from the circular economy, sufficiency business models, and the concept of conviviality.

 

What is Planned Obsolescence?

In this project, we define planned obsolescence as the intentional reduction of a product’s lifespan in favor of the business model. Companies design products that either break down more quickly or become perceived as outdated, compelling consumers to replace them more frequently. While this benefits businesses by driving profit and boosting national GDP and employment, it is disastrous for the environment. We waste precious resources and energy, generating unnecessary waste, while consumers pay the hidden costs for short-lived goods.

Planned obsolescence manifests in product design choices (e.g., gluing components instead of using screws for repairability) or marketing strategies that launch new product models rapidly, making existing ones feel outdated. Although consumer efforts (like the right to repair movement) and governmental regulations (e.g., eco-design laws) focus on the former, we argue that the latter—perceptual obsolescence—poses a more significant issue.

 

Research in Business Education

In this research project, we investigate how planned obsolescence is implicitly embedded in business education. We study how students grapple with the complexity of this issue and explore how we can inspire them to think about alternatives to planned obsolescence. This project involves collaboration with Centre of Expertise Wellbeing Economy & New Entrepreneurshiparrow and students from Communication and Media Design (CMD) at Avans University of Applied Science, known for their imaginative thinking, and third-year students from the minor Business, Leadership, and Sustainability, who reflect on Avans’ business curriculum.

The central research question is: How can we make marketers aware of obviousness in current marketing practice and provide them with a new perspective using redesign/imagination?

We investigate how planned obsolescence is defined, recognizing that the way we define it shapes our perspective on the perceived impact of the problem, as well as our approach to developing alternatives. Additionally, we examine how planned obsolescence is implicitly embedded within Avans University of Applied Sciences business education curriculum and we explore ways to engage students in critical thinking about this concept. Together with students, we will also create alternative approaches.

Collaboration with BWNO

This project is conducted in collaboration with the Center of Expertise Wellbeing Economy & New Entrepreneurship (BWNO)arrow. For more information, please visit the BWNO project page ‘Planned Obsolescence’arrow.

 

Ongoing research project (starting date September 2023)

‘Our research group investigates the role artists, designers and cultural producers in general can play in developing the aesthetics and poetics of a desirable future.’

Sebastian Olma is professor Cultural and Creative Industries. He works for the Expertise Centre Art, Design and Technology.

Sebastian Olma arrow

Research Group: Cultural and Creative Industries

The research group Cultural and Creative Industries investigates the role of artists and designers as creative innovators and drivers of social and economic change. Affiliated researchers analyse the cultural and creative industries from a critical point of view and examine the conditions under which timely forms of aesthetic expression and social connectedness can actually take place within the precarious reality of this field. What economic models are required by artists and designers to create a meaningful practice within the aesthetic, social, and economic intentions of the cultural and creative industries? What skills sets are required for those artists and designers who don’t just want to follow movements, but actually shape novel social and economic models of the future?

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